Academic literature on the topic 'Forms of materiality'
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Journal articles on the topic "Forms of materiality"
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Bloch, Olivier. "Abraham Gaultier, mort e vie." RIVISTA DI STORIA DELLA FILOSOFIA, no. 1 (February 2012): 11–18. http://dx.doi.org/10.3280/sf2012-001003.
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Published in Niort in 1714 by Doctor Abraham Gaultier, the Réponse en forme de dissertation ŕ un théologien, (from which two clandestine manuscripts were drawn and then a Parité de la vie et de la mort printed) shows, in the form of an explication of the Sceptics' doctrine, a sort of materialism inspired by the doctrines of vitalism. In spite of claimed forms of allegiance to religious orthodoxy, the Réponse puts men and animals on the same level of materiality and mortality.
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Colebrook, Claire. "Matter Without Bodies." Derrida Today 4, no. 1 (May 2011): 1–20. http://dx.doi.org/10.3366/drt.2011.0003.
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Materialism is at once the most general of concepts, capable of gesturing to anything that seems either foundational or physicalist, and yet is also one of the most rhetorical of gestures: operating as a way of reducing, criticising or ‘exorcising’ forms of idealism and ideology. Derrida's early, supposedly ‘textualist’ works appear to endorse a materiality of the letter (including syntax, grammar, trace and writing) while the later works focus on matter as split between that which is posited and that which will always appear as a receding ground. It is more important than ever that materialism not be accepted too readily as a way of overcoming a supposedly linguistic or textualist Derrida in order that Derrida might be smuggled into the contemporary heaven of naturalism and physicalism. On the contrary, it is the dispersed, inhuman and inorganic materiality beyond bodies, physis and substance that offers itself for genuinely deconstructive thinking.
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Tilley, Christopher. "Materiality in materials." Archaeological Dialogues 14, no. 1 (April 4, 2007): 16–20. http://dx.doi.org/10.1017/s1380203807002139.
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I really welcome Tim Ingold's paper because intellectual debates about the meaning and significance of material culture or general attempts to theorize material forms are comparatively rare as opposed to the mass of literature discussing particular categories of things. In the paper he systematically sets out to oppose a concept of materiality (apparently worthless) to the study of materials which, in contrast, he suggests, may lead to many new insights and understandings. I do not find this supposed opposition all that helpful. Indeed I believe that it may have a conservative and reactionary effect in relation to studies of material culture which is no doubt contrary to Ingold's intentions.
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Ingold, Tim. "Materials against materiality." Archaeological Dialogues 14, no. 1 (April 4, 2007): 1–16. http://dx.doi.org/10.1017/s1380203807002127.
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This article seeks to reverse the emphasis, in current studies of material culture, on the materiality of objects as against the properties of materials. Drawing on James Gibson's tripartite division of the inhabited environment into medium, substances and surfaces, it is argued that the forms of things are not imposed from without upon an inert substrate of matter, but are continually generated and dissolved within the fluxes of materials across the interface between substances and the medium that surrounds them. Thus things are active not because they are imbued with agency but because of ways in which they are caught up in these currents of the lifeworld. The properties of materials, then, are not fixed attributes of matter but are processual and relational. To describe these properties means telling their stories.
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Hombrecher, Hartmut, and Judith Wassiltschenko. "The Well-Worn Book and the reading child: cultural and cognitive aspects of materiality in German children’s literature." Neohelicon 47, no. 2 (August 28, 2020): 537–57. http://dx.doi.org/10.1007/s11059-020-00551-0.
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AbstractChildren’s books often feature complex material aspects. Despite that fact, little research has been done on questions of materiality in children’s and youth books. The article aims at outlining the field of the materiality of historical German-language children’s books. By analyzing historical author’s pedagogical statements as well as the design of historical children’s and youth fiction, the article summarizes different approaches concerning the materiality of children’s books. Based on the historical development and the generic study on how children modify the materiality of their books, the article further investigates the book-as-object and emphasizes the child’s point of view by scrutinizing the adult-culture book-toy distinction. It will become apparent that the specific forms of children’s book reception emerge since the materiality of the book and its exploration present a new embodied experience. The specific reception forms can be embedded into a semiotic model of the text-reader interaction in reference to Roland Barthes’ concept of écriture and scription.
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Flø, Asbjørn Blokkum. "Materiality in Sound Art." Organised Sound 23, no. 3 (December 2018): 225–34. http://dx.doi.org/10.1017/s1355771818000134.
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This article investigates the recent resurgence of kinetic sound art in light of the relationship between art and material. It does this by studying the history of mechanical musical instruments and kinetic art, the role of immateriality in the history of Western art, and the renewed focus on materiality in the arts. Materiality is key to understanding the resurgence of kinetics in sound art. The first part of this article studies the historical narratives of materiality in sound art, while the second part investigates materiality in my own works as more contemporary examples. Here the text turns to exploration of the material and acoustic properties of metal rods and plates, and suggests that direct contact with sound-producing objects provides opportunities for new art forms where the morphology of sound can be developed in dialogue with the physical objects and the surrounding space. By examining the underlying acoustic principles of rods and plates, we get a deeper understanding of the relationship between mathematical models and the actual sounding objects. Using the acoustic model with basic input parameters enables us to explore the timbral possibilities of the sound objects. This allows us to shape the spectrum of acoustic sound objects with great attention to detail, and makes models from spectromorphology relevant during the construction of the objects. The physical production of sound objects becomes both spectral composition and shaping of spatial objects. This highlights the importance of knowledge of both materials and acoustic principles, and questions the traditional perception of sound art and music as immaterial art forms.
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Hakimi, Jedd. "“Why Are Video Games So Special?”: The Supreme Court and the Case Against Medium Specificity." Games and Culture 15, no. 8 (June 27, 2019): 923–42. http://dx.doi.org/10.1177/1555412019857982.
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The 2011 U.S. Supreme Court case Brown v. Entertainment Merchants Association adjudicated the State of California’s right to regulate the sale of “violent” video games and, in the process, effectively considered how video games should be apprehended as a cultural form under the law. The court’s decision cited the missteps of judicial film censorship in protecting video games as a form of expression under the First Amendment, placing video games into a cultural time line of expressive forms. Some media scholars contest the court’s approach for overvaluing the cultural aspects of video games and neglecting their distinct digital materiality. However, a close reading of the case and the circumstances that led the justices’ opinions helps articulate a crucial critique of overly materialist approaches to video games associated with media archaeology. The case details reflect the inextricability of materiality and experience in considering video games as a form of expression.
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Nasser El-Dine, Sandra. "Love, Materiality, and Masculinity in Jordan." Men and Masculinities 21, no. 3 (April 4, 2018): 423–42. http://dx.doi.org/10.1177/1097184x17748174.
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This article discusses how performing masculinity in intimate relationships is related to the material dimensions of love. Drawing upon ethnographic fieldwork among middle-class young men and women in the Jordanian capital of Amman, I argue that to understand the continuing significance of the material aspects of marriage, it is important to pay attention to local notions of practical and transactional forms of love. Contributing to emerging scholarship on “caring” Arab masculinities, this article shows how material forms of care are integral to local relationship dynamics. Yet, in the context of the current economic situation in Jordan, the resources of many young men are limited, and they find themselves in a difficult position, both as compassionate partners and as manly men. Hence, they negotiate the entanglements of love and money by associating “true love” with their female partner’s willingness to compromise on the material requirements of marriage.
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Kisin, Eugenia. "Durable Remains: Indigenous Materialisms in Duane Linklater: From Our Hands." ARTMargins 7, no. 2 (June 2018): 100. http://dx.doi.org/10.1162/artm_r_00210.
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This review essay addresses the complex significance of materiality in From Our Hands, a recent site-specific installation at New York City's 80WSE Gallery produced by Duane Linklater, an Omaskêko Cree artist from Northern Ontario. Situating Linklater's practice as an instance of indigenous institutional critique––an approach that re-functions postconceptual artistic strategies in accordance with the distinct aesthetic, political, and ontological concerns of colonized native populations––the essay examines the ways in which such work might disable longstanding assumptions at a moment when indigenous contemporary art is receiving increased attention. In addition to materiality, the text focuses on a group of qualities with similarly ambiguous meaning; these include durability, “leakiness,” and sincerity. Against the fetishizing or abstracting tendencies of much “new materialist” discourse, it argues that practices like Linklater's enable a more nuanced understanding of environmental racism, nonhuman or transhuman ontologies, and cultural economies organized around indigenous, non-capitalist forms of labor and kinship. Please see the full article at artmargins.com .
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Overmann, Karenleigh A. "Thinking Materially: Cognition as Extended and Enacted." Journal of Cognition and Culture 17, no. 3-4 (October 6, 2017): 354–73. http://dx.doi.org/10.1163/15685373-12340012.
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Abstract Human cognition is extended and enacted. Drawing the boundaries of cognition to include the resources and attributes of the body and materiality allows an examination of how these components interact with the brain as a system, especially over cultural and evolutionary spans of time. Literacy and numeracy provide examples of multigenerational, incremental change in both psychological functioning and material forms. Though we think materiality, its central role in human cognition is often unappreciated, for reasons that include conceptual distribution over multiple material forms, the unconscious transparency of cognitive activity in general, and the different temporalities of metaplastic change in neurons and cultural forms.
Dissertations / Theses on the topic "Forms of materiality"
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Cohen, Hagit Haya. "Textiled Becomings: Making from Scratch." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/366908.
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Textiled Becomings is a creative work with an accompanying exegesis. This project explores
the ways in which cultural, social and environmental forces are intertwined in the creative
process, and examines how the final products reflect specific material processes and
embodied performative activities.
My creative work entails the production of living textiles ‘from scratch’: growing cotton from
seeds to make yarn, implanting the hand-spun yarn with barley seeds and weaving the seeded
yarns together using my body as a loom. No tools are involved in this process. Some of the
woven pieces take the shape of the space between the limbs of my body, while others take the
shape of the space between my limbs and those of another person, which together form the
loom. A selection of woven pieces will be hung in the gallery and irrigated to begin growing
and perform their life cycle in the final exhibition. This accompanying exegesis
contextualises the project and discusses particular issues pertaining to its development. The
exegesis begins by discussing a range of theoretical frameworks and their contribution to the
methodology that developed before examining my ability to correlate the material processes,
then looking at the embodied experience of making the work, which culminates in the
decision-making process involved in presenting the final exhibition.
Throughout the exegesis, I argue for the interdisciplinary/transdisciplinary nature of practiceled
research and creative practice. The Introduction establishes the context and importance of
weaving and textile work. I outline the way in which the exegesis should be considered in
relation to the creative work, emphasising that the two work together in tandem, and are
much greater and more far-reaching than the sum of their parts.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Dean, Lauren. "The Social Roles of Buildings : An Account of Materiality and Meaning in Urban Outcomes." Doctoral thesis, Stockholms universitet, Sociologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-137501.
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The dissertation explores the roles of buildings in urban social life. Buildings, as both a methodological tool and a research site, are valuable for understanding society. As a method, buildings allow access to various urban contexts. As a research site, the material and the social are integrated, where buildings and society are shown in continual construction. The overarching case shows how a new building type is born in a society and what buildings do, as both materiality and meaning, to help bring about outcomes. The study follows a single building type through history and analytical levels in the city of Santiago, Chile where three empirical studies emerge. The first traces a process of late 19th century urbanization to show the entrance of new residential building types into a city and how the physical and social landscape is reshaped in the process, emphasizing how one urban form emerges and is defined. Intercontinental connections bring new architecture and new language, stabilizing the link between form and name in the city. The resulting spectrum of buildings within the type shows how the diversity of residents shapes material outcomes. As the new buildings become fixed in the urban landscape, so too do social categories. How buildings change definitions both between and within societies, as well as start to take on meanings, is explored. Once definitions and form are established, the following studies explore the roles of the buildings in contemporary urban life. Photos analysis is employed to examine uses of shared space (a patio) in a residential building where buildings are theorized as material structures that contribute to patterned activities. It addresses how the building creates opportunities for observed everyday uses of private collective space. Using published comparison cases demonstrates that practices appear to differ between buildings of the same type when income of residents differs. It is hypothesized that opportunity is created not by the existence of the space per se, but by its gated enclosure, which separates the public street from the private space. The building is understood as a bound that simultaneously fosters interaction and exclusion. In addition, activities in these spaces, over time, contribute to new cultural understandings of the building type, showing how use can generate meaning. The last empirical study examines the reuse of residential buildings for commercial purposes in one neighborhood. The goal is to illuminate roles buildings play in contemporary neighborhood transformations. Rather than understanding transformation through reuse itself, modes of material conversions are examined. The differences between older conversions and newer ones in the area highlight the role of visible characteristics in the newly reused buildings. The material maintenance of residential facades on new conversions locks in the visual of a residential neighborhood, where intended function is built into form, even under commercial reuse. This is valuable in line with a constructed narrative about the place that focuses on the past. The building type under investigation is further redefined as reused buildings take on visual and spatial similarities to housing models from a past era that were not involved in changes in the neighborhood, but appear as if they were. This study relies on participant observation and analysis of marketing materials, as well as other documentary sources.
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Earle, Philippa Helen. "Monism and hybridity in Milton's literary forms." Thesis, University of Exeter, 2018. http://hdl.handle.net/10871/33661.
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A prevailing scholarly view holds that John Milton’s monism (his belief that matter and spirit are inseparable) is a reaction to seventeenth-century determinism. My thesis, however, posits that Milton’s monism in fact emerges from his exploration of literary form. Chapter one traces the classical roots of the philosophy and its compatibility with Genesis. It posits the comprehensiveness of monist philosophy and highlights the vitalist (or animate) implications of ancient monist theories for literary form. Spoken or written words, Democritus suggests, correspond to the material building blocks or “elements” of the universe: the construction of literary form is analogous to the creation of the cosmos. Indeed, Lucretius’ letter-atom analogy suggests that the process of creating literary form is essentially identical to the atomic method underlying the composition of other material forms in the universe. Greek atomist thought, the chapter proposes, finds a striking parallel in Jewish mystical beliefs about creation. It is with the letters of the divine name that the Lord was said to have created the universe. I argue that, for Milton, Aristotle is most influential in expressing a vitalist conception of literary form, for in his philosophy, soul generates voice, which manifests itself in writing. Milton acknowledges the association between words and atoms, between letters and primordial substance, and between voice, or breath, and spirit in his monist materialism; after all, in Genesis, God creates by utterance. Examining the relation of vitalism to Aristotelian poetics, I suggest the relevance of the concept to Milton’s hybrid literary forms. Then, analysing the material nature of voice in Milton’s works, I posit in chapter two that Milton’s polemical pamphlets underscore the sense of spirit in writing that we find in the poetry. That literary forms can be perceived to embody soul because they evoke voice is evident also from Milton’s Art of Logic (1672). I suggest in chapter three that Logic is saturated with materialism because the Aristotelian sources on which Milton’s Ramist logic is based express material monism. Milton’s Logic and Areopagitica (1644) provide further evidence of his thinking about the vital potential of literary form through the logical construction of texts, a continued interest, I argue, which ultimately engenders his mature monism. Milton use of dream narratives in Paradise Lost, I propose, suggests that reality varies materially by degrees. The parts that reality comprises become more distinct after the Fall, when Milton’s dream narratives, and his cosmology, changes. Before the Fall, the poet imagines that Earth orbits the sun, and that the sun orbits heaven at the centre of the cosmos, a formation, I explain, that has striking resemblance to modern knowledge of the solar system. With careful attention to the dreams of Paradise Lost, I have determined that monism, for Milton, encompasses the workings of intellect, and in the final chapter, I argue that this principle is central to understanding Paradise Regained. The Son’s method of survival in the wilderness becomes the means by which paradise (the spiritual reality) is regained. Understanding his own nature permits the Son of God physiologically to sustain himself through dreaming; the intellectual achievement alters the material nature of his body so that he is sustained by spiritual food. Monism is at the very heart of Paradise Regained. It is a monist methodology of literary form which enables the poet across his oeuvre truly to represent the nature of reality.
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Barau, Victor Vicente. "Queda tendencial taxa de lucro, forma política e forma jurídica." Universidade Presbiteriana Mackenzie, 2014. http://tede.mackenzie.br/jspui/handle/tede/1124.
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Previous issue date: 2014-08-01The dynamics, the antagonisms and contradictions inside the capitalist mode of production impact the capitalist form of sociability due to the crisis arising from the capitalist economic laws, especially in concerning of the tendency of falling rate of profit law. From a rereading of the theory critic of value, the debate proposed in this dissertation seeks to discusse and meditate about the mediations in which, directly or indirectly, consciously or unconsciously, affect the legal form and political form that is embodied in the Modern State, providing important elements for further discussion of current marixist´s theories of regulation and derivation of political form and legal form.
A dinâmica, os antagonismos e as contradições do modo de produção do capital impactam a forma de sociabilidade capitalista pelas crises cíclicas e estruturais decorrentes das leis econômicas do capital, especialmente na lei da queda tendencial da taxa de lucro. A partir de uma releitura da teoria crítica do valor, o debate proposto na presente dissertação busca discutir e refletir sobre as mediações que, direta ou indiretamente, consciente ou inconscientemente, afetam à forma jurídica do Direito e a forma política que se materializa no Estado moderno, fornecendo elementos importantes para futuros debates das atuais teorias marxistas da regulação e da derivação da forma política e da forma jurídica.
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Biasetto, Lisa <1977>. "Functional ceramic foams from preceramic polymers." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/383/.
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Mieville, China. "A historical-materialist analysis of international law and the legal form." Thesis, London School of Economics and Political Science (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248676.
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Hay, Duncan John Castel. "Form, place, and memory : materialist readings of Iain Sinclair's London writing." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/form-place-and-memory-materialist-readings-of-iain-sinclairs-london-writing(19d2419d-d2d3-4fbe-8124-ca111bd3e7d1).html.
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The body of poetry and prose produced by Iain Sinclair between 1975 and 2002 represents a sustained engagement with the question of the role of art and literature in the representation and comprehension of the city. This thesis reads Sinclair's work as a political intervention in the relationship between literature, urban space, and history, and takes its theoretical stance from the body of critical approaches to the city first articulated in Walter Benjamin's Arcades Project. The thesis proceeds on a broadly temporal and geographical basis from the East End of the author's 1975 poetic work Lud Heat to the suburbs of the capital in 2002's London Orbital, and is split into three sections of two chapters each, entitled 'Form', 'Place', and 'Memory' respectively. This structure periodises the author's oeuvre, demonstrating the ways in which his work responds to a series of historically specific cultural and political constellations; the titles name the perennial themes and critical concerns of Sinclair's writing, and allow the investigation of the ways in which these are instantiated and elaborated in his texts. Sinclair's earliest work builds upon the formal innovations and ambition of modernist poetics. Through an analysis of his first major collection of poetry, Lud Heat (1975), and his first novel, White Chappell, Scarlet Tracings (1987), the first part of the thesis - 'Form' - argues that these texts constitute an interrogation of the institutions of literature in postwar Britain in the wake of what Peter Burger identifies as the failure of the historic avant-gardes. These opening two chapters contextualise Sinclair's work so as to reveal its anti-establishment, oppositional character; the second section of the thesis - 'Place' - moves on to examine how these concerns are expressed in relation to urban space. Chapter 3 turns to the figure of the flaneur in his second novel, Downriver(1991), and demonstrates how this work at once radically decentres this subjectivity and is conditioned by his limitations. Downriver marks a moment of political nihilism in Sinclair's work, neither able to bring to representation Fredric Jameson's aesthetic of 'cognitive mapping', nor the emancipatory potential of postmodernism. His later 'psychogeographic' writing articulates a response to this impasse: chapter 4 demonstrates the ways in which Sinclair's use of this term at once divests it of the utopian character of its Situationist origins and transforms it into a dissenting, heterogeneous, literary mode. The final two chapters - 'Memory' - investigate the political potentialities of the models of history expressed in Sinclair's work. Chapter 5 turns to the author's use of the Gothic in relation to Benjamin's 'messianic' notion of 'the what has been', and argues that whilst such strategies can be of great critical potential, they at once risk collusion with that which they attack. Chapter 6 then analyses 2002's London Orbital, and argues that this work's ironic, tentative nostalgia for both the author's anti-establishment past and for the utopian character of former socio-political projects represents an attempt to find a way beyond the political malaise that Sinclair's London corpus identifies.
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Santos, Adriano Camargo Barbosa dos. "A crítica materialista da democracia: forma jurídica e a autonomia relativa do estado." Universidade Presbiteriana Mackenzie, 2018. http://tede.mackenzie.br/jspui/handle/tede/3556.
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Made available in DSpace on 2018-04-28T16:21:50Z (GMT). No. of bitstreams: 2 Adriano Camargo Barbosa dos Santos.pdf: 927402 bytes, checksum: 3768ebd98d0bfd34c69bac96e1973c53 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-06
The present work seeks to analyze the nature of democracy within a Pachukanian legal Marxist perspective and the materialist theory of the State of Joachim Hirsch. In Pachukan's legal view law becomes understood with legal subjectivity as its atom, and Hirsch within this Pachukanian view makes a derivation of the State as a social form that conforms to the legal form. The separation between the "public" and the "private", possible only with the advent of the legal form and the state political form allow the existence of democracy. However, democracy can exist in and only in capitalism, but it must not exist, it is not an imperative. The institutional arrangements, resulting from the relations of force from the class struggle, preserve or extinguish democracy. In addition, the valorization of value when it enters into a crisis of accumulation, its tendency law of the form of fall value of the rate of profit impels objective coercions on the classes that will determine a democratic capitalism, as in the case of Fordism, or a dissociation between capitalism and democracy, as in post-Fordism. With the intermediate concepts of the theory of French regulation that integrate the materialist theory of the State of Joachim Hirsch, the relations between the regime of accumulation and the mode of regulation determined by the contradictions and social antagonisms of capitalism determine the existence or not of democracy. To think of democracy in a materialistic bias is to exclude ideological analyzes of the emancipatory potential of democracy, which is nothing but a more totalitarian form of containing the class struggle and the valorization of value. Communism and democracy are antagonistic goals.
O presente trabalho busca analisar a natureza da democracia dentro de uma perspectiva marxista jurídica pachukaniana e da teoria materialista do Estado de Joachim Hirsch. Na visão jurídica pachukaniana o direito passa a ser compreendido com a subjetividade jurídica como seu átomo, e Hirsch dentro dessa visão pachukaniana faz uma derivação do Estado como forma social que se conforma com a forma jurídica. A separação entre o “público” e o “privado”, possível somente com o advento da forma jurídica e da forma política estatal permitem a existência da democracia. Entretanto, a democracia pode existir no capitalismo e somente nele, mas não deve existir, não é um imperativo. Os arranjos institucionais, decorrentes das relações de força provenientes da luta de classes, conservam ou extinguem a democracia. Ademais, a valorização do valor quando entra em crise de acumulação, sua lei tendencial da forma valor de queda da taxa de lucro impulsiona coerções objetivas sobre as classes que determinarão um capitalismo democrático, como no caso do fordismo, ou uma dissociação entre capitalismo e democracia, como no pós-fordismo. Com os conceitos intermediários da teoria da regulação francesa que integram a teoria materialista do Estado de Joachim Hirsch, as relações entre o regime de acumulação e o modo de regulação determinados pelas contradições e antagonismos sociais do capitalismo determinam a existência ou não da democracia. Pensar a democracia em um viés materialista é excluir as análises ideológicas sobre o potencial emancipatório da democracia, que nada mais é que uma forma totalitária mais amena de conter a luta de classes e a valorização do valor. Comunismo e democracia são objetivos antagônicos.
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Pirrie, Adams Kathleen. "When media becomes form : declining conventions of materiality, space, and audience in the popular music museum." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37980.
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When Media Becomes Form investigates the arresting experiment of the popular music museum project as it has evolved over the last twenty years. It argues that despite the need for adjustment, popular music is not essentially incompatible with the museum but, in fact, provides a compelling example of how the contemporary museum is animated, and sometimes bested, by the demands of today’s pluralistic and media-rich society. The thesis is based on three central case studies—the Rock and Roll Hall of Fame (Cleveland), the Experience Music Project (Seattle) and the British Music Experience (London)—and the research draws upon a series of in-depth interviews with curators, directors of education and media specialists, as well as archival research, site visits and exhibition critiques. It examines the collections, exhibitions, and audience relations of the purpose-built popular music museum and analyses how it declines certain conventions of materiality, space, and audience in order to align its provision with its subject. In terms of collections, it shows how the popular music museum, by finding value in mass produced objects, engages the social imaginary of a culture informed by celebrity and participation. In terms of exhibitions, it reveals how, by allowing a sense of co-ownership of the cultural narrative, the popular music museum produces an authentic ‘congregant space’. And, finally, in terms of visitation, it argues that the popular music museum, having recognized expertise within its audience and accepted that it cannot contain the visitor’s relationship to its subject within the space of the museum, embraces a notion of the extended visit that allows its audience to engage the museum from within the everyday.
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Liberti, Clelia. "Design e materiali litici attraverso le tecnologie contemporanee." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018.
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Nella prima parte il contenuto della tesi consiste in una ricerca sulle tecnologie per la lavorazione del marmo oggi disponibili, le possibilità di progetto e resa formale raccontate attraverso una raccolta di sperimentazioni e casi studio di Raffaello Galiotto. Nella seconda parte viene esposto il progetto Alba, lampada da tavolo progettata dal tesista grazie alla collaborazione con Budri, iniziata durante il tirocinio. Grazie anche ad un racconto fotografico, viene riportato l'intero processo: dalle idee iniziali di disegno alla progettazione e scelta dei materiali, passando per la lavorazione, fino alla messa in produzione e realizzazione dei primi campioni in marmo.
Books on the topic "Forms of materiality"
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Hucko, Elmar M. Das neue Urhebervertragsrecht: Angemessene Vergütung, neuer Bestsellerparagraf, gemeinsame Vergütungsregeln : Text mit Einführung und Materialien. Halle: mdv, Mitteldeutscher Verlag, 2002.
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Sot͡s︡ializm kak forma sot͡s︡ialʹnoĭ dialektiki. Moskva: Izd-vo Moskovskogo universiteta, 1985.
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Rachkov, Petr Alekseevich. Sot︠s︡ializm kak forma sot︠s︡ialʹnoĭ dialektiki. Moskva: Izd-vo moskovskogo universiteta, 1985.
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Finelli, Roberto. Mito e critica delle forme: La giovinezza di Hegel : 1770-1801. Roma: Editori riuniti, 1996.
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Gaultier, Abraham. Réponse en forme de dissertation à un théologien sur les sentiments des sceptiques. La Versanne: Encre marine, 2004.
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Gaultier, Abraham. Réponse en forme de dissertation à un théologien sur les sentiments des sceptiques. La Versanne: Encre marine, 2004.
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Gaultier, Abraham. Réponse en forme de dissertation à un théologien sur les sentiments des sceptiques. La Versanne: Encre marine, 2004.
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Popular cultural forms: A materialist critique of gender representation in the Lang'o orature. Kampala, Uganda: Centre for Basic Research, 1993.
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Imamalieva, R. M. Priroda svi︠a︡zi i formy ee proi︠a︡vlenii︠a︡. Tashkent: Izd-vo "Fan" Uzbekskoĭ SSR, 1985.
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1907-, Zender Matthias, ed. Die Anrede des Bauern und seiner Frau durch das Gesinde in Deutschland um 1930: Unter volkskundlichen und soziolinguistischen Aspekten nach Materialien des Atlas der deutschen Volkskunde. Frankfurt am Main: P. Lang, 1994.
Find full textBook chapters on the topic "Forms of materiality"
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Perret, Catherine. "Materialism and Capitalism Today." In Materialism and Politics, 133–44. Berlin: ICI Berlin Press, 2021. http://dx.doi.org/10.37050/ci-20_07.
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This chapter identifies a materiality of social bonds that is not reducible to the logic of exchange value between alienated subjects. It analyses different forms of relationship of the human body to the milieu, following Marcel Mauss’s techniques of the body and André Leroi-Gourhan’s definitions of evolution. The producing body, it is argued, does more than only embody norms in a process of subjectivation. The externalization of the body in gestures cannot be reduced, therefore, to the evolutionary level that produces ethnic and social norms.
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Ahlbeck, Jutta, Ann-Catrin Östman, and Eija Stark. "Introduction: Encounters and Trading Practices." In Encounters and Practices of Petty Trade in Northern Europe, 1820–1960, 1–27. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98080-1_1.
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AbstractDuring the nineteenth century, the circulation and exchange of various goods increased considerably, which affected trade on global, regional, and local levels. This volume uncovers one important yet neglected form of emerging itinerant livelihoods—namely, ambulatory petty trade—and how it was practiced in Northern Europe during the period 1820–1960. Northern Europe includes here the Nordic countries (Finland, Sweden, Norway, and Denmark), the Arctic and Subarctic Europe, and northern Estonia. The introductory chapter presents central concepts, such as livelihoods, petty trade, social and cultural encounters, along with theoretical premises, such as situated practices and materiality that underlie the collection. With the period chosen, 1820–1960, the chapter points to continuities and changes when it comes to inequalities and various forms livelihoods in the Nordic region.
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Eide, Øyvind, and Zoe Schubert. "Seeing the Landscape Through Textual and Graphical Media Products." In Beyond Media Borders, Volume 2, 175–209. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49683-8_7.
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Abstract Space is a central element in human communication. In this chapter, the authors compare representations of landscapes in different media types, including texts, maps, and virtual reality to show how they express spatial conceptions. Such a comparison is necessary to understand the mechanisms behind combinations and transformations among different media; hence, it forms a useful basis for analysing media interacting with spaces more generally. Taking a step back, the authors then discuss how the materiality and concreteness of space interact with the abstract conceptual level of models. This makes it possible to study traditional two-dimensional maps and texts as well as three-dimensional modelling and virtual reality systems. Finally, the authors introduce virtual reality as a new media form in the light of empirical experiments conducted at the University of Cologne.
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Alima, N., R. Snooks, and J. McCormack. "Bio Scaffolds." In Proceedings of the 2021 DigitalFUTURES, 316–29. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5983-6_29.
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Abstract‘Bio Scaffolds’ explores a series of design tectonics that emerge from a co-creation between human, machine and natural intelligences. This research establishes an integral connection between form and materiality by enabling biological materials to become a co-creator within the design and fabrication process. In this research paper, we explore a hybrid between architectural aesthetics and biological agency by choreographing natural growth through form. ‘Bio Scaffolds’ explores a series of 3D printed biodegradable scaffolds that orchestrate both Mycelia growth and degradation through form. A robotic arm is introduced into the system that can respond to the organism’s natural behavior by injecting additional Mycelium culture into a series of sacrificial frameworks. Equipped with computer vision systems, feedback controls, scanning processes and a multi-functional end-effector, the machine tends to nature by reacting to its patterns of growth, moisture, and color variation. Using this cybernetic intelligence, developed between human, machine, and Mycelium, our intention is to generate unexpected structural and morphological forms that are represented via a series of 3D printed Mycelium enclosures. ‘Bio Scaffolds’ explores an interplay between biological and computational complexity through non anthropocentric micro habitats.
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Riddell, Fraser. "‘Now—for a breath I tarry’: Breath, Desire, and Queer Materialism at the fin de siècle." In The Life of Breath in Literature, Culture and Medicine, 345–65. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74443-4_17.
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AbstractRiddell explores how tropes of breath and breathlessness articulate the relationship between materiality, desire, and loss for queer subjects in Victorian literature. The essay presents readings of A. E. Housman’s A Shropshire Lad, John Addington Symonds’s Memoirs, and Walter Pater’s ‘Sebastian van Storck’ (from Imaginary Portraits). It also examines nineteenth-century sexology (including writings by Magnus Hirschfeld) to demonstrate how certain modes of breathing were directly associated with non-normative sexuality in the period. Riddell draws upon insights from contemporary queer theory, in its turns toward negative affect and phenomenology, to examine precarious forms of embodied subjectivity in the history of homosexuality. By doing so, he demonstrates how experiences of embodiment are never universal but closely bound up with individual subject positions (such as sexuality and gender).
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Mitchell, Dianne. "Materiality and Lyric Form." In The Palgrave Encyclopedia of Early Modern Women's Writing, 1–5. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-01537-4_67-1.
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Wolfe, Charles T. "Early Modern Materialism and the Flesh or, Forms of Materialist Embodiment." In Materialism: A Historico-Philosophical Introduction, 43–59. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-24820-2_4.
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Broch, Trygve B. "Object." In The Ponytail, 27–48. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20780-8_2.
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AbstractAnalogies are elementary forms of meaning-making. In this chapter, I explore how the ponytail hairdo is imbued with meanings as we ascribe animal traits to people and human characteristics to animals to create “objective” or “natural” realities. The cultural creation of the natural through analogies, resemblances, and inductive reasoning makes symbolic work disappear from aesthetic surfaces, yet survive in an invisible cultural depth, reappearing in Freudian slippages and affective snippets of text. I show how meaning moves through the sensual materiality of the ponytail, and this aesthetic surface awakens a cultural depth to mediate social relations. The ponytail—or horsetail, as it is called in Norwegian—exudes kinetic energy that is recaptured on the catwalks of global fashion capitals. Like a horse’s tail provides balance for the animal, the ponytail balances the wearer’s stride and allows a feeling of movement, being moved and passionately moving others. The ponytail moves to move us.
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Aronowitz, Stanley. "Forms of Historical Disruption." In The Crisis in Historical Materialism, 151–61. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20696-4_6.
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Demirović, Alex. "The Historicity of Materialism and the Critique of Politics." In Materialism and Politics, 313–26. Berlin: ICI Berlin Press, 2021. http://dx.doi.org/10.37050/ci-20_17.
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This chapter proposes one definition of critical materialism and a critique of politics based on several authors from Marx to Foucault. This critique occurs in several stages and unfolds as a criticism of universals such as human freedom, general interest, political rationality, or reconciled political community. The decisive materialist-historical question, then, is which of the different materialities is dominant at a certain point of time. I argue that Marx condemns politics as an illusion. He thought of ‘political reason’ as a form of ‘spiritualism’. Hence, critical materialism argues for a move away from the illusion of politics.
Conference papers on the topic "Forms of materiality"
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Rotondi, Carmen. "Bio-Augmented Materiality, Towards the Next Biomimicry." In Intelligent Human Systems Integration (IHSI 2022) Integrating People and Intelligent Systems. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100951.
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The paper joins the debate on the emerging material revolution that extends computational and biological principles to matter itself, becoming intrinsically sensitive, active, programmable. It aims to explain how the informed relations between digital, physical and biological worlds are today changing the design practice, as well as the sustainability paradigm. The new concept of “Bio-Augmented Materiality” is presented, which refers to future products no longer made of parts but as “material systems” in which material-product-performance are designed as a single entity through information, growth and adaptation to the context. Finally, this conceptual mutation paves the way to the next biomimicry in which multidisciplinary research strategies and the ability to code and decode life principles are helpful for sustainable scenarios, not simply aimed to reduce the human impact on the ecosystem, rather enhance nature through original forms of cooperation and integration between human, biology and artifice.
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Georgiou, Michail, and Odysseas Georgiou. "BLOOM: materialising computational workflows." In International Conference on the 4th Game Set and Match (GSM4Q-2019). Qatar University Press, 2019. http://dx.doi.org/10.29117/gsm4q.2019.0013.
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The paper presents ongoing research, aiming towards affordability of complex forms in architecture. The research supports that the above objective can be approached by re-examining and integrating materiality and form-finding techniques in computational feedback models. Within the above framework, a computationally enhanced design process is proposed and presented through a realised case study.
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Juzwa, Nina, Tomasz Konior, and Jakub Świerzawski. "Architecture on the Edge of a City." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002334.
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The topic concerns the revitalization of a place by the introduction of a new building whose functionality and architectural uniqueness renew and/or develop the place. To put the problem in a broader perspective - the introduction of a building with a non-threatening function and an attractive form makes a declining or stagnant place suddenly appealing again. This applies to both, the built and natural environment. The restauration of both often requires similar revitalization activities and supporting elements.The presented issue is a part of a broader study that concerns architecture as the fine art of building, covering the topic of sustainability in architectural and urban design. The so-called “human factor” is an essential element for shaping a place. It is an element of urban and architectural design of new places. By creating new and different workplaces in declining or stagnant districts, also by introducing unusual architectural forms or materiality, a place can become attractive to users. Previously declining built or natural environment - suddenly become a desirable, growing place. Contemporary international research conducted by neuroscientists confirms the importance of the desire for beauty in ones surroundings. Thus, architectural beauty becomes a vital and economically significant factor in the shaping of the built and natural environment.Present processes of revitalization are usually supported by emphasising elements that make up the “human factor”. It involves balancing the functionality and beauty of an object as important in creating a PLACE in architecture.The topic is presented on the example of architecture of the following buildings:-Gymnasium and Cultural Center in Białołęka, 2006 is located on the edge between urban and landscape areas, on the right bank of the Vistula escarpment. The architectural form reflects the natural landscape. Traditional materiality blends with the context nearly perfectly. -The small buildings of the Cultural Center, 2013, on the outskirts of Warsaw, create a contrast of geometry and materiality to the high-rise blocks of flats. In its shape and material there is a longing for tradition expressed in a balanced, non-intrusive way.-The Krzysztof Kieślowski Film School in Katowice, 2017. The university building for artistic education was tasked to create a PLACE in a declining district. It impresses with its simplicity and its materiality of the traditional material – brick that is presented in a new, changed form. - Stone Pavilion Golędzinow, 2020 is a small building that tells Warsaw residents about nature conservation. The buildings form was created in the image of a post-glacial fossil. It is an object which shape and materiality seems as if taken directly from the natural world. - Press Glass offices in Konopiska, 2021, built in an unexpected place for this type of building. It is located in a former wasteland which was turned into a golf course. The building is intended to promote the excellence of glass - it reflects the green surroundings, and its form builds the uniqueness and beauty of architecture.The co-author of this publication is the designer of the first and fifth example.
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Abrons, Ellie, Meredith Miller, Adam Fure, and Thom Moran. "Reassembly." In 2018 ACSA International Conference. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.intl.2018.10.
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The story of post-industrial urban decline in America is well known. Bustling cities fall victim to changing economic structures and globalization. Wealth moves out of city centers, leaving behind evacuated buildings and vacant lots where houses once stood and transforming vibrant neighborhoods into sparsely populated areas that lack the density necessary to sustain urban life. Municipalities deem abandoned buildings “blight” and assemble task forces to eradicate them. In response to this pressing urban reality, we have been developing a speculative approach to reusing buildings and materials called “reassembly.” Reassembly views a building’s materiality as a matter-of-fact, as a resource for architecture stripped of the negative assumptions commonly associated with disused properties. Building components are taken apart, moved around, piled up, and mixed with new construction to create alternative uses and forms.
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Jung, Heekyoung, and Erik Stolterman. "Digital form and materiality." In the 7th Nordic Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2399016.2399115.
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Jung, Heekyoung, and Erik Stolterman. "Form and materiality in interaction design." In the 2011 annual conference extended abstracts. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1979742.1979619.
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Valentim, Juliana. "Participatory Futures Imaginations." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.111.
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The contemporary conjuncture of widespread ecological and social crises summons critical thinking about significant cultural changes in digital media design. The selection and classification practices that marked the history of slavery and colonization now rely on all types of nanotechnologies. On behalf of the future, bodies became expanded territory to sovereign intervention, where the role of contemporary powers enable extraction and mining of material, plumbed from the most intimate sphere of the self. This logic requires the state of exception to become the norm, so that the crisis is the digital media’s critical difference: they cut through the constant stream of information, differentiating the temporally valuable from the mundane, offering users a taste of real-time responsibility and empowerment. Thereby, this research aims to explore the dynamic transformations of the mediatic environment and their impacts on the fundamental relationships of human beings with the world, the self, and objects. It unfolds concerns around neocolonial assaults on human agency and autonomy that resonate from structuring patterns emerging from the digital infrastructure of neoliberalism and the relationships of human beings with the world. It disputes the imaginaries, representational regimes, and the possibilities of reality perceptions with universal, patriarchal, and extractive representations. This research also seeks alternative forms of media education and political resistance through its collaborative practice, pursuing an attentive and open-ended inquiry into the possibilities latent for designing new communication and information tools within lived material contexts: How might we represent invisible media infrastructures? How to produce knowledge about this space and present it publicly? How can these representations be politically mobilized as ecological and social arguments to establish a public debate? How can artistic sensibilities, aesthetics and the visual field influence what is thought of this frontier space? Finally, how can art, play and research intervene and participate? For this, the project involves participatory methods to create spaces for dialogue between different epistemologies, questioning the forms of ethical and creative reasoning in the planetary media and communication systems; for fostering the techno-politics imagination through playful, participatory futures and transition design frameworks as an ethical praxis of world-making; and for a reconceptualization of autonomy as an expression of radical interdependence between body, spaces, and materiality. The research aims to provide a framework for designing media tools, which incorporates core design principles and guidelines of agency and collective autonomy. It also engages with the transnational conversation on design, a contribution that stems from recent Latin American epistemic and political experiences and struggles, and the wider debate around alternative forms of restoring communal bonds, conquering public discussion spaces, and techno-political resistances through collaborative research practices and participatory methods.
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Riether, Gernot, and Keyan Rahimzadeh. "SKIN: An Open Negotiation Between Form, Function and Materiality." In XVII Conference of the Iberoamerican Society of Digital Graphics - SIGraDi: Knowledge-based Design. São Paulo: Editora Edgard Blücher, 2013. http://dx.doi.org/10.5151/despro-sigradi2013-0081.
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Gutierrez Borrero, Alfredo. "Dessobons: when design is the other (of many others)." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.190.
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"This lecture discusses the need to break the ontological, cosmological, etymological and epistemological(in fact all kinds of “-logical”) gravitational field of design as a modern and totalizing way of converting (and incidentally, devouring) into adjectives, from the same word, all the creative practices of materiality of all human groups (indigenous design, pluriversal design, decolonial design, autonomous design, etc.). The reason behind this position is that within the languages of many of these polycardinal (coming from all directions, better than non-westerners) human groups, the words ""design"", ""project"" and ""practice"" do not summon anything. Dessobons are presented, as an intra-academic generalization to respectfully call the whole of the untranslatable and impluralizable “practices” that in diverse human groups fulfill a function like the one that design has within the thought and action of the western tradition from which it was born. This is set up to stop seeing such ""practices"" as ""others"" of design (not ""other designs"", and not even ""designs-other"") and start seeing design as the other of such practices. Design as the other of many other forms of otherness. The path of the Dessobons represents an escape, a flight from the design in 3 directions, first the south as the set of oblivions, rejections, contempts, and inclusions-dissolutions, from visions that locate north and west above and leave for the south and the east a secondary condition. In the plural, thought as ""souths"", drifts to the south of the idea of design are undertaken, from various authors and wisdoms who find in the souths ways to account for links with otherness that do not respond to the ordering modes of the dominant culture that, indeed, turns out to be the only one. The second direction of flight is that of the other, the questioning of the monologic that underlies all monoculture, this describes the trajectory of overcoming the propensity to cover otherness with external signification regimes. The idea of the toxicity of the design (design toxicity) and the toxicity of the data (datatoxicity) are introduced here, to deal with the uncritical automatism of the repetition of forms of generalization that does not attend to the specificity or the particularities of territories, places, and communities. The last direction of flight is that of other names: what during my doctoral work I called design by other names, but which in the end turn out to be names for ""practices"" similar to and at the same time different from design, which could be equated with it without be (therefore, equialtervalents of design), practices with other names for which design is the other. The idea of designorance (everything that design ignores) is introduced here to approach, in a problem of organization of knowledge, forms of creation irreducible to those metrics with which academic knowledge, always inclined to impose its terms of comparison, projects itself onto what often does not even take the time to understand.The intention behind this escape from design towards dessobons is to allow the way for the declassified and declassifying coevolution of a diversity of heterogeneous and immeasurable creative possibilities without affiliating them to the domain of a matrix term (design) or molding or modeling them from it.
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Vivanco, José Antonio. "Understanding cycling in Quito through the lens of Social Practice Theory." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6070.
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Understanding cycling in Quito through the lens of Social Practice Theory. José Antonio Vivanco Viladot The Bartlett School of Planning, University College of London, Central House, 14 Upper Woburn Place, WC1H 0NN, London. E-mail: jose.viladot.15@ucl.ac.uk Keywords: Quito, Ecuador, Social Practice Theory, Transport behavior, Cycling Conference topics and scale: Urban form and social use of space In Quito, the relatively recent development of infrastructure and programs to promote cycling has become central in the discussion for sustainable mobility[1]. Moreover, considering that the scheme ‘Ciclopaseo’ has been an important dominical event for many families over a decade, if compared with the low rates of cycling in the modal share, questions surge about the effectiveness of all these measures. Moreover, the appropriateness of cycling in a city with geographical, morphological, social, and cultural challenges for practitioners has been analysed. The use of Social Practice Theory[2] provides a theoretical framework to understand holistically the daily mobility of two groups: a representative sample composed by University students, gives a specific target for policy making; while a parallel sample puts into perspective the validity of the results. SSPS and ArcGIS are used for the analysis of primary data collected with Google Forms. Overall, the analysis of each one of the elements of practice explains a dimension of the self-reinforcing barriers to cycle. It is revealed that the construction of meanings in daily travel, especially cycling, is based on instrumental factors such as travel time and distance, but non-instrumental factors related to safeness and security weigh heavily in travel behaviour, creating psychological barriers to cycling. It is concluded that reshaping the meanings of cycling is necessary by the construction of a culture of ‘road user behaviour’, the creation of physic-temporal-symbolic spaces to build cycling skills, and later transform the transport system, road infrastructure, streetscape, and the social rhythms of Quito into cycle-friendly spaces. References: [1] Mogollón, D.O. & Albornoz, M.B.B. (2016) ‘La bicicleta y la transformación del espacio público en Quito (2003-2014)’. Letras Verdes. Revista Latinoamericana de Estudios Socioambientales 19, 24-44. [2] Shove, E. (2010) ‘Beyond the ABC: climate change policy and theories of social change’, uofool of Planning. , K.,l life'ollege of London.Environment and planning A, 42(6), 1273-85. Schatzki, T. (2009) ‘Timespace and the organization of social life’. In Shove, E., Trentmann, F. & Wilk, R. Time, consumption and everyday life: Practice, materiality and culture. London: Bloomsbury, 35-48. Schwanen, T. & Lucas, K. (2011) ‘Chapter 1: Understanding Auto Motives’. In Lucas, K., Blumenberg, E. & Weinberger, Auto motives : understanding car use behaviours (Evelyn Blumenberg)
Reports on the topic "Forms of materiality"
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Gómez Reino, Juan Luis, Sergio Hinojosa, Patricio Mansilla, Roberto Muñoz, and Gerardo Reyes-Tagle. Experiencia internacional en el reciclaje de activos de infraestructura pública: estudios de caso, impactos y lecciones aprendidas. Inter-American Development Bank, June 2021. http://dx.doi.org/10.18235/0003374.
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A nivel internacional, pocos países han iniciado formalmente programas de reciclaje de activos de infraestructura pública, es decir, la monetización de activos de infraestructura pública existentes a través del sector privado y la reinversión en nueva infraestructura de los recursos financieros así obtenidos. Un reciente artículo de Muñoz et al. (2021) muestra teóricamente, a través de un modelo de generaciones traslapadas, que el reciclaje de activos puede generar crecimiento económico y abrir espacio fiscal. Con el objetivo de complementar la modelización teórica del reciclaje de activos públicos, este trabajo analiza algunas de las más relevantes experiencias internacionales en reciclaje. Así, se procura sistematizar lecciones aprendidas en el diseño de los procesos, la forma en la que se materializa el reciclaje, la tipología de los proyectos, las fuentes y los usos del reciclaje, la arquitectura institucional de los programas y sus impactos en la economía y la estabilidad fiscal. A tal efecto, se examinan los casos de Australia, México y Chile como posibles modelos de referencia para países que estudien esta iniciativa de política pública con potenciales beneficios fiscales y de crecimiento.
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Informe de Política Monetaria - Octubre de 2020. Banco de la República de Colombia, November 2020. http://dx.doi.org/10.32468/inf-pol-mont-spa.tr3-2020.
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Los datos recientes de actividad económica, inflación y mercado laboral sugieren que sus tendencias han estado acorde con la valoración del equipo técnico sobre el estado de la economía y su evolución esperada, caracterizada por una caída en la demanda y la persistencia de amplios excesos de capacidad productiva. La fuerte caída proyectada del producto se materializó en el segundo trimestre, hecho que ha contribuido a un descenso de la inflación por debajo de la meta del 3% y se ha visto reflejado en un fuerte deterioro del mercado laboral. Para lo que resta del presente y durante el siguiente año se sigue esperando una lenta recuperación del producto y del empleo, junto con una inflación creciente, pero inferior a la meta. En 2020 la economía colombiana registraría una fuerte recesión (caída del PIB del 7,6%), menor que la proyectada en el informe pasado (caída del PIB del 8,5%). A partir del segundo semestre los niveles del producto se recuperarían de forma lenta, sin alcanzar en 2021 los valores previos a la pandemia, y en un entorno de amplia incertidumbre. La caída del producto del primer semestre del año resultó menor que la estimada, debido a la revisión al alza del PIB del primer trimestre y por una contracción en el segundo (-15,5%) más leve que la proyectada (-16,5%). Los indicadores disponibles de actividad económica sugieren que la caída anual del PIB para el tercer trimestre estaría alrededor del 9%. Para lo que resta del año y en 2021 se supone que no habrá una aceleración importante de los contagios del Covid-19 que impliquen un endurecimiento de las medidas de distanciamiento social que afecten de manera importante la actividad económica. Con esto, la apertura gradual de la economía continuaría y la oferta de los sectores más afectados por la pandemia se iría recuperando de forma lenta en la medida en que la flexibilización de las restricciones siga avanzando. Por el lado del gasto, la mejora en la confianza de los hogares, la demanda represada de varios bienes y servicios, los mayores niveles esperados de demanda externa y las bajas tasas reales de interés contribuirían a la recuperación del nivel del producto. A lo anterior se suma una base baja de comparación, que explicaría gran parte del aumento del PIB en 2021. Con todo esto, se espera que el crecimiento económico para 2020 se sitúe entre un -9% y -6,5%, con un -7,6% como valor central. Para 2021 se proyecta un crecimiento entre el 3% y 7%, con un 4,6% como valor central (Gráfico 1.1). Frente al informe de julio, la revisión al alza en las proyecciones de actividad económica incorpora la menor caída observada en el primer semestre y una recuperación algo más rápida que la esperada para el tercer trimestre en algunos sectores económicos. Los intervalos de pronóstico de crecimiento para 2020 y 2021 se redujeron, pero siguen siendo amplios y reflejan la elevada incertidumbre que se tiene sobre la evolución de la pandemia, las posibles medidas necesarias para enfrentarla y sus efectos sobre la actividad económica mundial y local.