Academic literature on the topic 'Arts and Cultural Complex'
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Journal articles on the topic "Arts and Cultural Complex"
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Abramovitch, Henry. "The Cultural Complex." Jung Journal 1, no. 1 (January 2007): 49–52. http://dx.doi.org/10.1525/jung.2007.1.1.49.
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Singerman, Howard. "The Educational Complex: Mike Kelley's Cultural Studies." October 126 (October 2008): 44–68. http://dx.doi.org/10.1162/octo.2008.126.1.44.
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ICHIM, Traian. "Innovative marketing in the performing arts." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 123–30. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.13.
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Marketing in the cultural sphere has its own characteristics due to certain market requirements in this field of activity. It is distinguished by a special approach to traditional categories of marketing activities, thus defining the content of its functions. The key point of the management process in the cultural field is the study and evaluation of the marketing environment of a cultural institution. The marketing environment consists of macro and micro factors, which influence the activities of the institution. Research in the field of cultural marketing will be the concrete and realistic basis of future cultural projects. At the same time, the results of research will account for several political decision-makers. The use by cultural institutions of the whole complex of marketing technologies will not only improve the quality of services provided by a given institution in a certain market segment, but will also give the opportunity to move to a new stage of evolution of the whole market of sociocultural services, which corresponds to the requirements (needs) of consumers to a greater extent.
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Hudson, Martyn, and Hazel Donkin. "TESTT Space: groundwork and experiment in a complex arts organisation." Arts and the Market 9, no. 2 (December 9, 2019): 188–201. http://dx.doi.org/10.1108/aam-05-2019-0016.
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Purpose The purpose of this paper is to document and describe an omni-disciplinary ethnography of a complex arts and cultural regeneration organisation in Durham (TESTT Space). The organization and its art spaces are hybrid combination tools explicitly designed to test and experiment with ideas, social forms, human interactions and arts practice. Its ground or practice is a repurposed meanwhile space in a city centre embedded in a unique cultural landscape of local communities, a University and a World Heritage Site. The research attempted to understand its groundwork, its interactions and its civic mission and aspirations in a time of radical change and rupture. Design/methodology/approach The authors assumed an ethnographic approach, working with and within this organisation for a year, thinking of the research as embedded, intimate research and committed to social change. It was a work of co-production – working with studio-holders, curators, artists and facilitators using a range of triangulated qualitative research methods. These include structured interviews, auto-ethnography, ethnography of spaces, arts-led research, art as research and research as art. Findings TESTT Space has allowed both the retention of artists in the city and the propulsion of artists into the world. It has offered different ways of engaging in the complex lives of artists and curators, allowing them to test aesthetics and try out new social models. It has thought up its own network as a thinking practice, has developed its own politics, civics and imagined a set of new futures. Originality/value The paper documents interactions and aspirations, describing the lived phenomenological experience of being in this experimental space.
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Pohio, Lesley Margaret. "Landscapes of Identity: Young children and the visual arts | Paysages identitaires : jeunes enfants et arts visuels." Canadian Review of Art Education / Revue canadienne d’éducation artistique 44, no. 1 (December 12, 2017): 4–19. http://dx.doi.org/10.26443/crae.v44i1.41.
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Abstract: This research investigated how early childhood teachers responded to young children’s cultural and ethnic diversity through the visual arts. The visual arts are a critical means through which children’s cultural ways of knowing can be communicated and made visible. This was a key discovery from a research project underpinned by the New Zealand early childhood curriculum, Te Whāriki, which cites cultural diversity as a central principle, and motivated by statistics in the 2013 New Zealand Census that showed a strong demographic contrast between the ethnicities of the youthful and adult populations. The research findings presented the teacher participants’ understandings of culture and ethnicity and their interpretation of the multi-faceted and complex ways children’s visual artwork expresses children’s cultural and ethnic identities. Fragments of the artworks were interwoven within a tapestry to visualise these complex and multi-faceted findings.Keywords: Early Childhood Education; Visual Arts; Cultural and Ethnic diversity Résumé : Cette recherche tente d’identifier de quelle façon les éducateurs de la petite enfance réagissent face à la diversité culturelle et ethnique des enfants par le biais des arts visuels. Les arts visuels sont un medium essentiel pour transmettre et rendre tangibles les voies culturelles du savoir chez les enfants. Il s’agit d’une découverte importante faite dans le cadre d’un projet de recherche soutenu par le programme d’étude TeWhāriki de la petite enfance en Nouvelle-Zélande, qui fait de la diversité culturelle un principe fondamental, sur la base de statistiques issues du Recensement néozélandais de 2013 qui met en évidence un contraste démographique important entre les populations de jeunes enfants et d’adultes. Les résultats de cette recherche illustrent les perceptions culturelles et ethniques des enseignants participants et leur interprétation des voies complexes et à multiples facettes utilisées par les jeunes enfants pour exprimer leur identité culturelle et ethnique à travers leurs œuvres artistiques. Des fragments de ces œuvres ont été regroupés dans une tapisserie pour mieux illustrer ces résultats complexes et à multiples facettes (Figure 1).Mots-clés : éducation de la petite enfance ; arts visuels ; diversité ethnique
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Mawby, Anthea. "Australia: Shadow and Cultural Complex in the Antipodes." Jung Journal 13, no. 1 (January 2, 2019): 49–68. http://dx.doi.org/10.1080/19342039.2018.1560797.
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Binder, Marni J. "Bringing the Arts to the Everyday Lived Experiences of Young Children." Art/Research International: A Transdisciplinary Journal 3, no. 2 (September 15, 2018): 262–95. http://dx.doi.org/10.18432/ari29384.
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The purpose of this arts-based education research was to explore the complex art forms in Bali, Indonesia, for a cross-cultural understanding of the everyday importance of the arts in the teaching and learning of young children. Five Balinese artists and one Javanese artist were interviewed to discuss their journeys as artists from a young age, their practicing art forms, and perceptions of the importance of the arts in their communities, cultural identity, and in the everyday lived experiences of children. While there is literature on the historical and complex art forms of Bali, giving context to the importance of time and place and hierarchies of the culture, little is documented on the interconnection between the arts as a paradigm that shapes culture and informs an understanding of the arts as important to teaching and learning. This research experience aimed to deepen the researcher’s understanding of how the arts are embodied and woven together in Balinese culture, and how this knowledge can be connected to the teaching and learning of children in the Canadian context.
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Djokic, Vladan, Ana Radivojevic, and Mirjana Roter-Blagojevic. "Promotion of the cultural heritage of Mediterranean city in the scope of upgrading cultural tourism." Spatium, no. 17-18 (2008): 84–91. http://dx.doi.org/10.2298/spat0818084d.
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World and especially European trends of tourist economy are mainly focused on development of diversity in cultural tourism. Cultural tourism is a complex of numerous activities that enables not only the affirmation of cultural-historic motives, but also provides important resources for renewal of cultural-historic monuments, tangible and intangible heritage and resources. Today, there is no serious and ambitious country that does not prefer development of tourism in its development strategies as a planetary phenomenon and development sector. This specially refers to cultural tourism, as a competitive segment, based on local authenticity, unique areas, urban entities and ambiance, different historic layers and monuments, local tradition, myths and customs, affirmative mentality of population, geographic and ecological resources, in brief - complex and original identity of its area and its population. Cultural tourism in Montenegro has a modest tradition and only recently through valuable but sporadic initiatives and encouragements from Europe, attempts to valorize its own potentials, making them competitive through creative projects and programs. It is most certainly that the Montenegrin coast is a deeply settled part of complex Mediterranean cultural sphere that possesses certain characteristics which marks it as a unique cultural space in which different historical, geographic, confessional and other influences from surroundings intersect, predefining it for development of cultural tourism. This paper represents an effort to create a professional study report, although limited to single destination - city of Budva that treats cultural tourism in correlation with evaluation of renewal and use of cultural-historic and built heritage. From the mentioned reasons and within described context, this paper tends to be a small, but precisely created contribution to the future actions of creating complex tourist offer at Montenegrin coast, especially in Budva as its 'capital', as it is often emphasized with reasonable expectations in public. .
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Koprivšek, Nevenka, and Rok Vevar. "The problematics of spaces for performing arts in Slovenia." Maska 36, no. 201 (June 1, 2021): 88–101. http://dx.doi.org/10.1386/maska_00060_1.
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Nevenka Koprivšek wrote about the state, needs and vision of the presentation and rehearsal spaces in the field of performing arts more than twenty years ago, even before Bunker institute took over the management of the Old Power Station. Despite some newly acquired spaces described by Rok Vevar in his article “The Problem of Public Cultural Spaces from the Perspective of Public Time”, there is still a lack of understanding regarding the complex needs of art production, which includes appropriate and sufficient studio conditions. Art is not a done cultural product.
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Ren, Shuang, and Ying Zhu. "Candle in the wind." Journal of General Management 42, no. 4 (July 2017): 80–89. http://dx.doi.org/10.1177/0306307017702999.
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This study contributes to the leadership literature by applying the complexity leadership paradigm within China’s fringe arts businesses. China’s societal transformation provides a rich site that is far more complex than the one in established economies. Concerned with the evolving role of arts and cultural leadership within such context, this study explores the emergent, interactive dynamism between leaders, leadership and multiple contexts organized at different levels. Using an evidence-based approach, this study draws from in-depth case studies of two fringe arts businesses in Beijing. The findings not only enrich the model that describes the strategic goals of arts and cultural businesses, but also reveals leader behaviours and approaches used to achieve adaptive outcomes of complexity leadership. Overall, the study provides insights into the practice of arts and cultural leadership socially constructed within a context of drastic change and uncertainty.
Dissertations / Theses on the topic "Arts and Cultural Complex"
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Zúñiga, Sara E. "Deciphering the Cultural Heritage and Function of the Ella Strong Denison Library Complex." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/986.
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Schmitz-Justen, Felix. "A network for communication, art and technology and the three key elements environment, group and stage : a complete documentation of complex development processes /." Sankt Augustin, Germany : GMD-Forschungszentrum Informationstechnik, 2000. http://www.gmd.de/publications/research/2000/007/.
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Crocitti, Olivier. "Feux d'artifices de bons sentiments : transformer l'incoercible confrontation entre démocratisation de la culture et démocratie culturelle afin de définir des complexes artistiques : mais... qu'est ce que l'art ?" Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC011/document.
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Après avoir partagé les politiques culturelles majoritairement actives en trois modèles et modes afin dedéfinir ce qu'est La Culture, je travaille à une catégorisation de l'objet de vulgarisation de cette Culture, à savoir l'Art, et à une cartographie de son ou ses sujets, à savoir le spectateur et sa place, pour finalement essayer de proposer un mode d'action culturelle nommé non plus politique culturelle mais politique artistique. De La Critique à La Critique de la Critique de la Critique, en passant par La Critique de la Critique, je cherche à sortir de la confortable définition polysémique régnant sur le territoire culturel et à la Tour des Arts, et ce dans le projet utopique de transfiguration de leurs architecturesThe Great Culture and the Great Public as mythical as Alexander or From the art of taking distance. What is art ? Verfremdung → to make stranger. While cultural exhibition tends to be events that are most often apprehended through their relation to the Great Public – sometimes legitimating, sometimes repulsive,sometimes motive and often simultaneously recipient, adjuvant, opponent, expected, persona non grata andalmost always juge-baromètre arpenteur, supposedly outside of concern of that event – we will try to bringout from these different policies (that pay close attention to numerical parameters) the complicities and contradictions between artistic/cultural practices and democratic practice. Can we still bet on subvertissant power of cultural production as ideological enhancer and democratical antioxidant whereas the culturallandscape seems to be shaped by a festivisation oxymoronique, a nivellement-exacerbant ?
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Feng, Sha. "L’Art Ailleurs : la Recherche Anthropologique sur les Artistes Contemporains Chinois des Beaux-arts Vivant en France." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30043/document.
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Depuis le début du vingtième siècle, les artistes chinois ont commencé à poursuivre leurs rêves artistiques en France. Cent ans plus tard, bien que l’art français ne soit plus le centre absolu du monde artistique, son histoire glorieuse en fait un symbole au statut inébranlable. La France d’autrefois, avec son orientation politique culturelle a attiré des artistes du monde entier, qui sont devenus une partie importante du patrimoine artistique et culturel des Français; en même temps, la « culture française », dans son ensemble, perpétue le mythe de capitale culturelle.Compte tenu de la structure du discours prévalent sur « la Chine et l’Occident », la place des artistes chinois en France est un peu spéciale. Pour les artistes chinois, la France est, dans une large mesure, « le monde occidental ». Ces artistes chinois intègrent leur expérience à l’étranger dans un contexte transculturel tout en restant conscients de leurs propres expériences et sentiments, ce qui mène à une innovation permanente dans leurs propres techniques de création. De même qu’il est difficile de trouver une raison collective pour la venue en France des artistes chinois, leur création ne se présente pas sous une forme de système ou d'aspiration unifiée. Comme c’est le cas pour l’imaginaire chinois de la France, nous imaginons que les artistes chinois en France suivent un parcours « uniforme ».Cette thèse commence par l’exposition biennale de Lyon en 2009, à laquelle j’ai participé et grâce à laquelle j'ai pu progresser dans ma connaissance du fond culturel, historique et social local. À partir de ce groupe particulier d’«artistes d’outre-mer» et selon les textes existants et les déclarations des artistes rencontrés, je discute tout d’abord de l’imaginaire et de la réalité de l'« étranger » en France, puis j’analyse la structure narrative des textes de l’histoire de l’art et des médias de masse sur les « artistes étrangers ». J’interprète alors certaines œuvres et pratiques des artistes, en évoquant leur compréhension de la structure narrative. Ensuite, je discute du marché de l’art et de l’expérience des artistes en son sein. Enfin, j’essaye de comparer l’expérience de l’artiste et les idées sociales et culturelles, et de réfléchir à mes propres recherches et réflexionsSince the twentieth century, Chinese artists have voyaged to France in pursuit of their dream of art. Even though France is no longer the only art capital in the world today, it glorious history has made its status unshakeable as a symbol which attracted artists eager for opportunities for free creation and diverse forms of inspiration. These artists’ works became an important part of French culture and art, while “French culture and art” as a whole perpetuates the myth of cultural capital.Given the structure of the prevalent discourse concerning « China and the West », the place of Chinese artists in France is somewhat special. These Chinese artists integrate their experience abroad in a transcultural context while remaining conscious of their own experience and feelings; in terms of their own creative techniques they innovate permanently. It is difficult to find a collective reason for Chinese artists’ coming to France; similarly, their work does not constitute a unitary system or ambition. As is the case of the Chinese imaginary concerning France, it is imagined that Chinese artists in France follow a uniform trajectory.This thesis starts with the Lyon biennale exhibition of 2009 which I attended and thanks to which I was able to expand my acquaintance with local social, cultural and historical contexts. Based on this particular group of “overseas artists” and referring to the existing texts and statements of the artists encountered, the imagined experience and the lived experience of the “foreigner” in France are discussed, and then narrative structure of history of art and mass media texts about “foreign artists” are analyzed. Evoking their understanding of this narrative structure, certain artists’ works and practices are then interpreted. There follows a discussion of the art market and the experience of artists within it. Finally there is an attempt to compare the artist’s experience with socio-cultural ideas, and a reflection on the findings of this thesis
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Wolski, Katja Margrit. "The Sertoli Cell-Spermatid Junctional Complex : a potential avenue for Male contraception." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001747.
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Oubre, Candace Gail. "The Holistic Complementary Structure of Western Bio-Medicine and Traditional Healing and Achieving Complete Health." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3736.
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Achieving complete health requires a deep understanding of complementary cultural competency sensitivity between physician and patient. This may include but is not limited to access to preventative health care resources, access to health educational resources and access to cultural healing resources, for example, shamans, Ayurvedic physicians, and herbal healers. Advocates of cultural competency emphasize great importance on knowledge of the patients' cultural background; however, the transcendence of this knowledge can be explained further through complementary cultural competency sensitivity. This is when the cultures of the physician and patient complement each other in terms of understanding what is in the patients' best interest in the overall goal of healing and complete health for the patient. The explanation of this concept revolves around the idea that health is not just found within body wellness physically, but also mentally and emotionally. The tragedies of poor health outcomes we face have psychological repercussions with a significant social determinant that bio-medical medication cannot and should not solve. The purpose of research includes theoretical discussions that address questions of: What roles do Evidence Based Results play for Medical Anthropologists? How will having knowledge of socioeconomic status, cultural practices and determinants of environmental insult and structural violence as experienced by the individual patient influence the facilitation of the process of creating a positive health outcome for the patient? How can "End of Life" issues be better addressed? How does language influence health? Does a positive dialogue between health professionals and patients contribute to better health outcomes? Research will emphasize the idea that Ethnomedicine (traditional medicine) and Western Bio-medicine complement each other within the model of complementary cultural competency sensitivity. The Holistic Complementary Structure of Western Bio-medicine and Traditional Healing is a multifaceted mean by which the manifestations of complete and positive health results occur. The methods of research used in the research include ethnographic interview content discussions, primary and secondary literature sources, and research of bio-statistical data. The interview discussions consist of dialogue with Medical Anthropologists, a Nurse Practitioner, a Global Health Studies Ph.D. professor and an Africana Studies Ph.D. professor. In order to prove the hypothesis, explanations through examples of Ethnomedicine (traditional medicine) and Western Bio-medicine working together, show how the combination of the two modalities along with the factors of complementary cultural competency sensitivity between patient and physician contribute to positive health outcomes.
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Vaccaro, Jenanne. "Juan del Frasco, o la Compleja “Inbetweeneidad” de ser Puertorriqueña." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1581.
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This thesis, written in the Spanish language, merges historical documents, literature, and interviews in the form of a creative story that explores the Puerto Rican identity through the lens of one family. Cuca, the main character, is an allegory of the island’s current and historical state of “in-betweenness”. As a former Spanish colony, then U.S. territory, and now a U.S. commonwealth, the island has incorporated elements from each imperial regime, though never fully being a part of any. The story begins in 2008 and centers first on Cuca, and then her granddaughter who struggles to understand her own identity as both an American and a Puerto Rican. The story then goes back in time to 1930, the year in which the Puerto Rican government legalized divorce. After Cuca’s mother divorces her Spanish father, and then marries an American, Cuca comes to have two paternal figures much like Puerto Rican has had: one Spanish and one American. Taking place between 1930 and 1942, the story focuses on the island’s evolving identity between the Great Depression years and the beginning of Operation Bootstrap, the latter which sought to modernize the island and to increase tourism. The thesis raises the complexities of being Puerto Rican, but also more generally the complexities of all those who feel caught between cultures and identities.
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Rainytė, Ernesta. "Vilniaus pilių komplekso paveldotvarkos darbų analizė ir vertinimas." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120622_105439-61315.
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Vilniaus pilių kompleksas – kultūros paveldo objektas, egzistuojantis nuo XIV a. kaip svarbus politinis, ekonominis, kultūrinis ir socialinis valstybingumo simbolis. Šis vienintelis pilių kompleksas Lietuvoje 1994m. kartu su Vilniaus senamiesčiu įtrauktas į UNESCO pasaulio kultūros paveldo sąrašą kaip unikali įvairių architektūros stilių vietovė, išlaikiusi viduramžišką planinę struktūrą. Norint išsaugoti šį kompleksą, būtina atlikti paveldotvarkos darbus, kurie prisidėtų prie objekto išsaugojimo ir gyvinimo. Tačiau ne visi darbai yra atliekami tinkamai. Analizuojant Vilniaus pilių komplekso paveldotvarkos darbus, darbe siekiama įvertinti jų reikšmę ir įtaką objekto kultūrinei vertei, remiantis šiuolaikiniais išsaugojimo principais.
Siekiant įgyvendinti užsibrėžtą tikslą iškeliami uždaviniai, padėsiantys apibūdinti pilių sandaros pokyčius, išanalizuoti paveldotvarkos darbus ir šiuolaikinius išsaugojimo principus, veikiančius tarptautinėse organizacijose ir Lietuvoje. Šie uždaviniai išsamiau analizuojami pirmose trijuose darbo skyriuose. Pirmoje dalyje apžvelgiama pilių komplekso susikūrimas ir struktūrinė kaita LDK (XIV – XVII a.), carizmo, tarpukario ir sovietmečio (XVIII – XIX a.) bei nepriklausomybės laikotarpiais. Antroje darbo dalyje analizuojami XIX - XXI a. vykdyti ir tebevykdomi paveldotvarkos darbai (konservavimas, restauravimas, atkūrimas) ir jų reikšmė pilių komplekso autentiškumui ir kultūrinėms vertėms atskleisti. Trečioje dalyje analizuojama kultūrinių verčių... [toliau žr. visą tekstą]Vilnius Castle Complex – a culture heritage object which is existing from 14 century as very important political, economic, cultural, social symbol of nationhood. In 1994 the only one castle complex in Lithuania together with Vilnius Old Town was entered in UNESCO world heritage list as a unique territory with variety architecture styles and as a territory which has been saved medieval planned structure. To save this complex, it is necessary to carry out works which contributes of object preservation and animation. But not all works are being done well. The main purpose is to analyze conservation works in Vilnius Castle Complex and evaluate their significance and influence of object cultural value, using the modern preservation principles. In order to realize the main purpose is raised tasks which help characterize changes in the structure of castle complex, to analyze conservation works and modern preservation principles, using in international organizations and Lithuania. These tasks are analyzing in first tree work’s section. The first one is analyzing Vilnius castle complex creation and changes in different century – The Grand Duchy of Lithuania (14 - 17 centuries), Czarism, Interwar, The Soviet Union treatment and Lithuania Independence. The second one is analyzing conservation works which was or are doing in 19 - 21 centuries (conservation, restoration and reconstruction) and their influence of castle complex authenticity and cultural value. The last... [to full text]
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Almeida, Guilherme Essvein de. "A casa da música e a cidade das artes : por uma monumentalidade." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/182778.
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tese centra-se na análise da Casa da Música do Porto (Rem Koolhaas, 1999-2005) e da Cidade das Artes do Rio de Janeiro (Christian de Portzamparc, 2002-2013), centros culturais municipais ancorados em salas de concertos, concluídos no início deste século por arquitetos da geração dos 1940 operando no estrangeiro. A análise das duas obras é precedida pela contextualização dos seus encargos, incluindo a discussão do interesse na criação de edifícios especiais conceituados como ícones ao invés de monumentos, a discussão dessa distinção, e o exame das estratégias de caracterização associadas aos dois conceitos. Tendo em vista as críticas frequentes a ambos edifícios durante e depois de sua execução, a análise é seguida da avaliação da pertinência do entendimento destas obras como exemplos de acontextualismo e arbitrariedade formal, apoiada na problematização dos conceitos de contexto e arbitrariedade à luz das estratégias de caracterização identificadas nas respectivas análises.The thesis focuses on the analysis of the Casa da Música do Porto (Rem Koolhaas, 1999-2005) and the Cidade das Artes do Rio de Janeiro (Christian de Portzamparc, 2002-2013), municipal cultural centers anchored in concert halls, completed at the beginning of this century by architects of the 1940s operating in the foreign. The analysis of the two buildings is preceded by the contextualization of their commissions, including the discussion of the interest in the creation of special buildings as icons rather than monuments, the discussion of this distinction, and the examination of the strategies of characterization associated to the two concepts. Due to the frequent criticism both buildings suffered with during and after their executions, the analysis is followed by an evaluation of the pertinence of the understanding of these buildings as examples of anti-contextualism and formal arbitrariness, supported by the problematization of the concepts of context and arbitrariness in light of the characterization strategies identified in the respective analyzes.
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姚木輝 and Muk-fai Yiu. "Kwun Tong civil/cultural complex." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31983169.
Full textBooks on the topic "Arts and Cultural Complex"
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Timmāpura Agrahara: A cultural study of Vijayanagara-Hampi temple complex. Mysore: Paurastya Prakashana, 2005.
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Sutil, Marcelo Saldanha. Complexo Centro Cultural Teatro Guaíra: 50 anos de história. Curitiba: Kraft Cultural, 2005.
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Division, San Francisco (Calif ). Office of the Controller City Services Auditor. San Francisco Arts Commission: Bayview Opera House properly used grant funds but incorrectly billed the Arts Commission. San Francisco: Office of the Controller, 2006.
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Division, San Francisco (Calif ). Office of the Controller City Services Auditor. San Francisco Arts Commission: African American Art and Culture Complex properly used grant funds but did not comply with all reporting requirements. San Francisco: Office of the Controller, 2006.
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San Francisco (Calif.). Office of the Controller. City Services Auditor Division. San Francisco Arts Commission: SomArts properly used grant funds but needs to improve its accounting and reporting procedures. San Francisco: Office of the Controller, 2006.
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Boven, Erica, and Marieke Winkler, eds. The Construction and Dynamics of Cultural Icons. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728225.
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Departing from the present need for cultural models within the public debate, this volume offers a new contribution to the study of cultural icons. From the traditional religious icon to the modern mass media icon, from the recognizable visual icon to the complex entanglement of image and collective narratives: The Construction and Dynamics of Cultural Icons offers an overview of existing theories, compares different definitions and proposes a comprehensive view on the icon and the iconic. Focusing in particular on the making of iconic representations and their changing social-cultural meanings through time, scholars from cultural memory studies, art history and literary studies present concrete operationalizations of the ways different types of cultural icons can be studied.
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Exploring complex organizations: A cultural perspective. Newbury Park, Calif: Sage Publications, 1992.
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Lum, Chee-Hoo, and Ernst Wagner, eds. Arts Education and Cultural Diversity. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-8004-4.
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Young, James O., ed. Cultural Appropriation and the Arts. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470694190.
Full textBook chapters on the topic "Arts and Cultural Complex"
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Bargetz, Brigitte. "Figuring Ambivalence, Capturing the Political." In Cultural Inquiry, 191–214. Vienna: Turia + Kant, 2014. http://dx.doi.org/10.37050/ci-08_09.
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The notion of ambivalence currently seems to be an invigorating figure with heuristic potential in political, social, and art theory. It refers to a plurality of possibilities, a paradoxical multiplicity, and a complex relationality. It foregrounds thinking in terms of indeterminacy and incommensurability, as well as in terms of the possible. Ambivalence has been deployed in positive ways, as offering political promise, while, at the same time, being regarded with suspicion.
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Sperling, Alison. "Radiating Exposures." In Cultural Inquiry, 41–62. Berlin: ICI Berlin Press, 2020. http://dx.doi.org/10.37050/ci-17_03.
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The brief explorations of radiation exposures presented within this essay draw primarily from nuclear art and culture and contribute to the field of nuclear aesthetics, which has long been fixated on the problem of visibility and the representation of nuclear residues. The examples draw primarily from photographic technologies and other aesthetic registers that capture visual residues of radiation. The challenges of nuclear aesthetics are also political and social. This constellation of objects and inquiries is meant to explore the fraught political, environmental, and social relations between radiation, visibility, toxicity, through the concept of exposure. They offer feminist glimpses into other ways of thinking exposure, as it develops in relation to (often imperceptible) toxicity that is not inscribed into a logic that partitions the passive victim of suffering from some pure or unaffected subject. They are examples that are both forms of exposure specific to the nuclear while also, perhaps, helping to expose more nuanced and complex ways of understanding forms of exposure that extend beyond nuclearity.
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Frey, Bruno S. "Evaluating Cultural Property." In Arts & Economics, 181–96. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-540-24695-4_11.
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Frey, Bruno S. "Evaluating Cultural Property." In Arts & Economics, 175–90. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/978-3-662-04225-0_10.
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Taylor, Jeffrey. "Cultural heritage compliance." In Visual Arts Management, 111–20. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315543666-13.
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Morris, Gareth, Mark Browne, Kirsti Murahidy, and Mike Jacka. "Christchurch Town Hall Complex: Post-Earthquake Ground Improvement, Structural Repair, and Seismic Retrofit." In Case Studies on Conservation and Seismic Strengthening/Retrofitting of Existing Structures, 145–72. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/cs002.145.
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<p>The Christchurch Town Hall (CTH) complex contains six reinforced concrete buildings constructed circa 1970 in Christchurch, New Zealand (NZ). The complex is used for performing arts and entertainment, with an Auditorium that is internationally recognized for its acoustics. It is listed as a Grade-1 heritage building due to its cultural and historical significance. Unfortunately, the CTH foundation system was not originally designed to accommodate liquefaction-induced differential settlement and lateral spreading effects, as highlighted by the 2010–2011 Canterbury earthquake sequence. Although the most extreme ground motions exceeded the NZS 1170.5 code-defined 1/2500 year earthquake loads, the CTH structures performed remarkably well for a design that pre-dated modern seismic codes. Most of the observed structural damage was a result of the differential ground deformations, rather than in response to inertial forces. The post-earthquake observations and signs of distress are presented herein. The primary focus of this paper is to describe two major features of the seismic retrofit project (initiated in 2013) which were required to upgrade the CTH complex to meet 100% of current NZS 1170.5 seismic loadings. Firstly, the upgrade required extensive ground improvement and a new reinforce concrete mat slab to mitigate the impacts future ground deformations. Soil stabilization was provided by a cellular arrangement of jet-grout columns, a relatively new technique to NZ at the time. The new mat slab (typically 600-900 mm) was constructed over the stabilized soils. Secondly, upgrading the superstructure had many constraints that were overcome via a performance-based design approach, using non-linear time-history analysis. Recognizing the heritage significance, the superstructure “resurrection” as a modern building was hidden within the original skin minimized disruption of heritage fabric. Retrofit solutions were targeted, which also minimized the overall works. The 2015–2019 construction phase is briefly discussed within, including jet-grout procedures and sequencing considerations.</p>
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Andrews, Richard S. "Cultural Policy and the Arts Entrepreneur." In Arts Entrepreneurship, 208–39. New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315712635-7.
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Irwin, Rita L., Tony Rogers, and Yuh-Yao Wan. "Making Connections Through Cultural Memory, Cultural Performance, and Cultural Translation." In Arts Education and Curriculum Studies, 36–50. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315467016-5.
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Brosio, Giorgio. "The Arts Industry: Problems of Measurement." In Cultural Economics And Cultural Policies, 17–22. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-011-1140-9_2.
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du Cros, Hilary, and Bob McKercher. "Intangible cultural heritage and creative arts." In Cultural Tourism, 103–21. Third edition. | Abingdon, Oxon ; New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429277498-8.
Full textConference papers on the topic "Arts and Cultural Complex"
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Peng, Ruomu. "Complex Cultural Heritage Tourism Product Development." In 2015 3rd International Conference on Education, Management, Arts, Economics and Social Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemaess-15.2016.193.
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Uçak, Olcay. "Towards a Single Culture in Cross-Cultural Communication: Digital Culture." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.007.
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Culture is a multifaceted, complex process which consists of knowledge, art, morals, customs, skills and habits. Based on this point of view of Tylor, we can say that the culture is the human in the society, his learning styles and the technical or artistic products that originate from these learning styles, in other words, the content. In antropology it is argued that when the concept of culture is considered as a component in a social system, the combination of the social and cultural areas form the socio-cultural system. Approaches that handle culture within the socio-cultural system are functionalism (Malinowski), structural-functionalism (Radliffe-Brown), historical-extensionist (Kluckhohn, Krober), environmental adaptive (White), while the approaches that treat culture as a system of thought are cognitive (Goodenough), structural (Levi Strauss) and symbolic (Geertz) approaches. In addition to these approaches that evaluate cultures specific to communities, another definition is made according to the learning time: Margeret Mead, Cofigurative Culture. In order to evaluate today’s societies in terms of culture, we are observing a new culture which has cofigurative features under the influence of convergent technologies (mobile, cloud technology, robots, virtual reality): Digital Culture. This study aims to discuss the characteristics of the digital culture, which is observed after the theoretic approaches that define different cultures in cross-cultural communication (Hofstede’s Cultural Dimension and Cofigurative Culture) and called as network society by Manual Castells and accelerated during the Covid19 pandemic, in other words the common communication culture. Common cultural features will be studied through methods of semiology and text analysis upon digital contents which are starting to take hold of cross-cultural communication, a comparison between cross-cultural communication and communicative ecology will be made, the alteration in the cultural features of the society will be examined via visual and written findings obtained.
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Smaili, Ahmad. "Design for Cultural Difference." In ASME 2002 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/detc2002/edc-34381.
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Design, the cross-fertilization of science and art, is a basic function of all species that occupy a masterfully orchestrated and designed ecosystem in which man is but one. On the other hand, culture with its complex mix is the expression of what a group of people creates — arts, beliefs customs, institutions, products and thought — at a particular time within the context of the natural environment. Design and culture therefore are intimately linked and undoubtedly influence each other. This suggests that designers, with their problem solving skills and keen interest to preserve nature and advance quality of life are capable of reshaping culture in a positive way. This paper is not intended to provide specific answers on how to achieve that, but it highlights some aspects of the design-culture interface and asserts that designers, armed with good will and respect for all have under their disposal a strong force by which they can help fashion a peaceful world. The paper also addresses possible things designers can do to influence that objective.
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Zotkina, L., N. Basova, A. Postnov, and K. Kolobova. "РАДИОУГЛЕРОДНОЕ ДАТИРОВАНИЕ ОБЪЕКТОВ ИСКУССТВА С ПАМЯТНИКА ТУРИСТ-2 (Г. НОВОСИБИРСК)." In Радиоуглерод в археологии и палеоэкологии: прошлое, настоящее, будущее. Материалы международной конференции, посвященной 80-летию старшего научного сотрудника ИИМК РАН, кандидата химических наук Ганны Ивановны Зайцевой. Samara State University of Social Sciences and Education, 2020. http://dx.doi.org/10.31600/978-5-91867-213-6-35.
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The complex of miniature plastic arts from the Bronze Age burial at the Tourist-2 settlement (Novosibirsk) is unique. Mobile art objects are anthropomorphic and zoomorphic figures, made in a single peculiar iconographic manner, called the «Krohalevsky» style. Here we present the first radiocarbon dates from this settlement. The obtained dates can be later used for the cultural and chronological attribution of other images close to the figurative manner.
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Zubair, Anis, Elta Sonalitha, Salnan Ratih, Bambang Nurdewanto, Kukuh Yudhistiro, and Irfan Mujahidin. "Blackbox Testing Using Fuzzy Clustering Based on Boundary Value Analysis on The Text Opinion Mining Application in Traditional Culture Arts Presentation." In International Conference of Science Management Art Research Technology. RSF Press & RESEARCH SYNERGY FOUNDATION, 2020. http://dx.doi.org/10.31098/ic-smart.v1i1.21.
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The success of organizing a traditional work of art cannot be separated from the important role of data and information obtained from the public in general, and viewers or art connoisseurs in particular. This information is an indicator that can be used to measure the amount of public attention to traditional arts, which is an effort to promote traditional cultural arts. Data and information related to traditional artworks were obtained from filling out the instruments that were distributed to the public online to produce an opinion form that contained a complete description with a discussion containing the aesthetic of the artwork. Opinion data is needed as a measure of progress and preservation of a work of art. The linguistic measurement of opinion can be solved using fuzzy methods in a cryptic form that can be weighted. In this study, the authors tested the audience opinion text mining application on the presentation of traditional cultural artworks using fuzzy clustering using the functional testing method (Black box testing). Through this test will be discussed related to the menu or module to produce information.
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"Exploration on the Non-legacy Protection of Ethnic Areas under the Background of Pastoral Complex--Taking Wenchuan County of Aba Tibetan and Qiang Autonomous Prefecture as an Example." In 2018 International Conference on Culture, Literature, Arts & Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icclah.18.064.
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Zhuang, Yuqi, and Zhongying Shi. "Research on Interior Space of Ecological Building Complex Based on the Demand of Entrepreneurial Group*." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.214.
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Henning, Priscila. "Questões de autenticidade na era do patrimônio espetacular." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3797.
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Atualmente, a questão da preservação de nosso legado arquitetônico, histórico e/ou artístico vem sendo amplamente discutida, não apenas no meio acadêmico, como pela sociedade em geral. Por todo o país surgem cada vez mais projetos de preservação cultural que unem tanto as iniciativas privadas quanto organismos públicos, muitas vezes aplaudidos pela mídia e apoiados pelos usuários. A princípio, este quadro é positivo e benéfico, pois estimula a conservação de nossos bens culturais e a retomada da própria identidade da sociedade a partir de sua trajetória ao longo do tempo. No entanto, a associação insistente da preservação do patrimônio com a indústria cultural do espetáculo, incluindo neste contexto a relação indissociável com o turismo espetacular e as distorções geradas pela indústria da informação, faz com que seja necessária a discussão de um conceito basilar que pauta a ação do preservador: a questão da autenticidade. O conceito de autenticidade desperta algumas das questões essenciais que cercam a preservação do patrimônio cultural: o que se está preservando, de que forma, e por quê? Esta questão é crucial: a partir da noção de que o bem em si, ou as dinâmicas sociais e históricas que este encerra, são justificativas para a sua conservação, torna-se necessário investigar as razões para sua distorção, desfiguração ou modificação deliberada. Para fins deste trabalho, a noção do espetáculo é ressaltada por ser uma relação contraditória, aparentemente positiva, porém que atinge diretamente a própria essência do patrimônio cultural. Ao mesmo tempo, é um espelho da sociedade contemporânea, de seus valores e mecanismos, e de sua relação com a cultura, gerando uma complexa dinâmica de significados e relações que influenciam diretamente a ação e compreensão da preservação do patrimônio cultural.
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Teodosio, Annarita. "The eye of the architect. Le Corbusier and the photograph: demonstrate, learn, remember." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.947.
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Abstract: The relationship between Le Corbusier and the visual arts (drawing, photography and cinema) is deep and complex and, although the subject of numerous publications and research since the late 60s, still arouses much interest, as evidenced by the many events organized in the last years - "Le Corbusier. Vue sur la mer ", Maison La Roche, Paris, 2012; "Construire the image: Le Corbusier et la Photographie", Musée des Beaux-Arts, the Chaux-de-Fonds, 2013; or the recent "Le Corbusier and photography", IUAV, Venice, May 2015-. The paper, starting out from the researches already developed, proposes a further reflection on the relationship between the Swiss architect and the photography, paying particular interest to the shooting made in first person. The study analyzes the different approaches and the different subjects photographed in the course of his life and it is proposed to include the work of Le Corbusier in the broader cultural context of the twentieth century, a period in which the relationship between architecture and visual communication, thanks to the many possibilities offered by technological innovations, it becomes increasingly close and inevitable. Resumen: La relación entre Le Corbusier y las artes visuales (dibujo, fotografía y cine) es profunda y articulada y, aunque es objeto de numerosas publicaciones y investigaciónes desde el finales de los años 60es, todavía despierta mucho interés, como lo demuestran los diversos eventos realizados en los últimos años - “Le Corbusier. Vue sur la mer”, Maison La Roche, Parìs, 2012; “Construire l’image: Le Corbusier et la photographie”, Musée des Beaux-Arts, la Chaux-de-Fonds, 2013; o la más reciente “Le Corbusier e la fotografia”, IUAV , Venezia, mayo 2015-. El articulo, a partir desde investigación ya desarrollado, propone una reflexión más sobre la relación entre el arquitecto suizo y la fotografía, prestando especial interés a las realizata en primera persona. El estudio analiza los diferentes enfoques y diferentes sujetos fotografiados en el curso de su vida y se propone de insertar la obra de Le Corbusier en el contexto cultural más amplio del siglo XX, un período en el que la relación entre la arquitectura y la comunicación visual, gracias a las muchas posibilidades que ofrecen las innovaciones tecnológicas, se vuelve cada vez más estrecha e inevitable. Keywords: Le Corbusier; photography; representation of architecture. Palabras clave: Le Corbusier; fotografia; representaciones de la arquitectura. DOI: http://dx.doi.org/10.4995/LC2015.2015.947
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Siviero, E., and V. Martini. "Bridges in the World Heritage List Between Culture and Technical Development." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0153.
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<p>The aim of this paper is to present some bridges inscribed in the UNESCO World Heritage List and their Outstanding Universal Values, which explain the importance of these works of art in terms of engineering, technology, culture and technical development. The Iron Bridge, the first metal bridge in the history of construction, is of considerable importance, not only in historic, technological and constructive terms: here, architecture and engineering are revealed to the full, making the bridge into a place. The Forth Bridge is a globally-important triumph of engineering, representing the pinnacle of 19th century bridge construction and is without doubt the world’s greatest trussed bridge. The Vizcaya Bridge, completed in 1893, was the first bridge in the world to carry people and traffic on a high suspended gondola and was used as a model for many similar bridges in Europe, Africa and America, only a few of which survive. The Mostar Bridge is an exceptional and universal symbol of coexistence of communities from diverse cultural, ethnic and religious backgrounds. The Oporto bridges, interpreted in Vitruvian terms, represent a heritage, a “set of spiritual, cultural, social or material values that belong, through inheritance or tradition, to a group of people…”, a complex grouping that marks and symbolises an era, the Eiffel's masterpiece. Because the bridge is not only a work of art, but also a thought.</p>
Reports on the topic "Arts and Cultural Complex"
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Smyth, Emer. Arts and cultural participation among 17-year-olds. ESRI, November 2020. http://dx.doi.org/10.26504/rs103.
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Rogers, Amanda. Creative Expression and Contemporary Arts Making Among Young Cambodians. Swansea University, May 2021. http://dx.doi.org/10.23889/sureport.56822.
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This project analysed the creative practices and concerns of young adult artists (18-35 years old) in contemporary Cambodia. It examined the extent to which the arts are being used to open up new ways of enacting Cambodian identity that encompass, but also move beyond, a preoccupation with the Khmer Rouge (1975-1979). Existing research has focused on how the recuperation and revival of traditional performance is linked to the post-genocidal reconstruction of the nation. In contrast, this research examines if, and how, young artists are moving beyond the revival process to create works that speak to a young Cambodian population.The research used NGO Cambodian Living Arts’ 2020 Cultural Season of performances, workshops, and talks as a case study through which to examine key concerns of young Cambodian artists, trace how these affected their creative process, and analyse how the resulting works were received among audiences. It was funded through the AHRC GCRF Network Plus Grant ‘Changing the Story’ which uses arts and humanities approaches to ‘build inclusive societies with, and for, young people in post-conflict settings.
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Brenda R. Pace, Julie B raun Williams, Hollie Gilbert, Dino Lowrey, and Julie Brizzee. Cultural Resource Investigation for the Materials and Fuels Complex Wastewater System Upgrade at the Idaho National Laboratory. Office of Scientific and Technical Information (OSTI), May 2010. http://dx.doi.org/10.2172/983358.
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Billing, Suzannah-Lynn, Shannon Anderson, Andrew Parker, Martin Eichhorn, Lindsay Louise Vare, and Emily Thomson. Scottish Inshore Fisheries Integrated Data System (SIFIDS): work package 4 final report assessment of socio-economic and cultural characteristics of Scottish inshore fisheries. Edited by Mark James and Hannah Ladd-Jones. Marine Alliance for Science and Technology for Scotland (MASTS), 2018. http://dx.doi.org/10.15664/10023.23450.
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[Extract from Executive Summary] The European Maritime and Fisheries Fund (EMFF) has funded the ‘Scottish Inshore Fisheries Integrated Data System’ (SIFIDS) project, which aims to integrate data collection and analysis for the Scottish inshore fishing industry. SIFIDS Work Package 4 was tasked with assessing the socio-economic and cultural characteristics of Scottish Inshore Fisheries. The aim was to develop replicable frameworks for collecting and analysing cultural data in combination with defining and analysing already available socio-economic datasets. An overview of the current available socio-economic data is presented and used to identify the data gaps. Primary socio-economic and cultural research was conducted to fill these gaps in order to capture complex cultural, social and economic relationships in a usable and useful manner. Some of the results from this Work Package will be incorporated into the platform that SIFIDS Work Package 6 is building. All primary research conducted within this work package followed the University of the Highlands and Islands (UHI) Research Ethics Framework and was granted Ethical Approval by the UHI Research Ethics Committee under code ETH895.
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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.
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The main recommendations of the panel report can be summarised under five key headings: Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age. Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v Landscapes and regions: Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change? Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial. Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth. Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs. Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully. Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people. The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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Yaremchuk, Olesya. TRAVEL ANTHROPOLOGY IN JOURNALISM: HISTORY AND PRACTICAL METHODS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11069.
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Our study’s main object is travel anthropology, the branch of science that studies the history and nature of man, socio-cultural space, social relations, and structures by gathering information during short and long journeys. The publication aims to research the theoretical foundations and genesis of travel anthropology, outline its fundamental principles, and highlight interaction with related sciences. The article’s defining objectives are the analysis of the synthesis of fundamental research approaches in travel anthropology and their implementation in journalism. When we analyze what methods are used by modern authors, also called «cultural observers», we can return to the localization strategy, namely the centering of the culture around a particular place, village, or another spatial object. It is about the participants-observers and how the workplace is limited in space and time and the broader concept of fieldwork. Some disciplinary practices are confused with today’s complex, interactive cultural conjunctures, leading us to think of a laboratory of controlled observations. Indeed, disciplinary approaches have changed since Malinowski’s time. Based on the experience of fieldwork of Svitlana Aleksievich, Katarzyna Kwiatkowska-Moskalewicz, or Malgorzata Reimer, we can conclude that in modern journalism, where the tools of travel anthropology are used, the practical methods of complexity, reflexivity, principles of openness, and semiotics are decisive. Their authors implement both for stable localization and for a prevailing transition.
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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.
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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
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Gutiérrez Rodríguez, Encarnación. Entangled Migrations The Coloniality of Migration and Creolizing Conviviality. Maria Sibylla Merian International Centre for Advanced Studies in the Humanities and Social Sciences Conviviality-Inequality in Latin America, 2021. http://dx.doi.org/10.46877/rodriguez.2021.35.
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This Working Paper discusses entangled migrations as territorially and temporally entangled onto-epistemological phenomena. As a theoretical-analytical framework, it addresses the material, epistemological and ethical premises of spatial-temporal entanglements and relationality in the understanding of migration as a modern colonial phenomenon. Entangled migrations acknowledges that local migratory movements mirror global migrations in complex ways, engaging with the analysis of historical connections, territorial entrenchments, cultural confluences, and overlapping antagonistic relations across nations and continents. Drawing on European immigration to the American continent and specifically to Brazil in the 19th century, this argument is tentatively developed by discussing two opposite moments of entangled migrations, the coloniality of migration and creolizing conviviality. To do this, the paper engages first with the theoretical framework of spatial-temporal entanglements. Second, it approaches the coloniality of migration. Finally, it briefly discusses creolizing conviviality.
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Zinenko, Olena. THE SPECIFICITY OF INTERACTION OF JOURNALISTS WITH THE PUBLIC IN COVERAGE OF PUBLIC EVENTS ON SOCIAL TOPICS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11056.
Full textAbstract:
Consideration of aspects of the functioning of mass media in society requires a comprehensive approach based on universal media theory. The article presents an attempt to consider public events in terms of a functional approach to understanding the media, proposed by media theorist Dennis McQuayl in the theory of mass communication. Public events are analyzed, on the one hand, as a complex object of journalistic reflection and, on the other hand, as a situational media that examines the relationship of agents of the social and media fields in the space of communication interaction. Taking into account philosophical approaches to the interpretation of the concept of event, considering its semantic spectrum, specificity of use and synonyms in the Ukrainian language, a working definition of the concept of public event is given. Based on case-analysis of public events, In accordance with the functions of the media the functions of public events are outlined. This is is promising for the development of study on typology of public events in the context of mass communication theory. The realization of the functions of public events as situational media is illustrated with such vivid examples of cultural events as «Gogolfest» and «Book Forum in Lviv». The author shows that a functional approach to understanding public events in society and their place in the space of mass communication, opens prospects for studying the role of media in reflecting the phenomena of social reality, clarifying the presence and quality of communication between media producers and media consumers.
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Tweet, Justin S., Vincent L. Santucci, Kenneth Convery, Jonathan Hoffman, and Laura Kirn. Channel Islands National Park: Paleontological resource inventory (public version). National Park Service, September 2020. http://dx.doi.org/10.36967/nrr-2278664.
Full textAbstract:
Channel Island National Park (CHIS), incorporating five islands off the coast of southern California (Anacapa Island, San Miguel Island, Santa Barbara Island, Santa Cruz Island, and Santa Rosa Island), has an outstanding paleontological record. The park has significant fossils dating from the Late Cretaceous to the Holocene, representing organisms of the sea, the land, and the air. Highlights include: the famous pygmy mammoths that inhabited the conjoined northern islands during the late Pleistocene; the best fossil avifauna of any National Park Service (NPS) unit; intertwined paleontological and cultural records extending into the latest Pleistocene, including Arlington Man, the oldest well-dated human known from North America; calichified “fossil forests”; records of Miocene desmostylians and sirenians, unusual sea mammals; abundant Pleistocene mollusks illustrating changes in sea level and ocean temperature; one of the most thoroughly studied records of microfossils in the NPS; and type specimens for 23 fossil taxa. Paleontological research on the islands of CHIS began in the second half of the 19th century. The first discovery of a mammoth specimen was reported in 1873. Research can be divided into four periods: 1) the few early reports from the 19th century; 2) a sustained burst of activity in the 1920s and 1930s; 3) a second burst from the 1950s into the 1970s; and 4) the modern period of activity, symbolically opened with the 1994 discovery of a nearly complete pygmy mammoth skeleton on Santa Rosa Island. The work associated with this paleontological resource inventory may be considered the beginning of a fifth period. Fossils were specifically mentioned in the 1938 proclamation establishing what was then Channel Islands National Monument, making CHIS one of 18 NPS areas for which paleontological resources are referenced in the enabling legislation. Each of the five islands of CHIS has distinct paleontological and geological records, each has some kind of fossil resources, and almost all of the sedimentary formations on the islands are fossiliferous within CHIS. Anacapa Island and Santa Barbara Island, the two smallest islands, are primarily composed of Miocene volcanic rocks interfingered with small quantities of sedimentary rock and covered with a veneer of Quaternary sediments. Santa Barbara stands apart from Anacapa because it was never part of Santarosae, the landmass that existed at times in the Pleistocene when sea level was low enough that the four northern islands were connected. San Miguel Island, Santa Cruz Island, and Santa Rosa Island have more complex geologic histories. Of these three islands, San Miguel Island has relatively simple geologic structure and few formations. Santa Cruz Island has the most varied geology of the islands, as well as the longest rock record exposed at the surface, beginning with Jurassic metamorphic and intrusive igneous rocks. The Channel Islands have been uplifted and faulted in a complex 20-million-year-long geologic episode tied to the collision of the North American and Pacific Places, the initiation of the San Andreas fault system, and the 90° clockwise rotation of the Transverse Ranges, of which the northern Channel Islands are the westernmost part. Widespread volcanic activity from about 19 to 14 million years ago is evidenced by the igneous rocks found on each island.