Literatura académica sobre el tema "Organic school (Group of artists)"

This article is an attempt to characterize the influence of Volodymyr Shapovalov and the Kharkiv State Academy of Design and Arts on the formation of the features of Kharkiv art ceramics in the late twentieth – early twenty-first century. The present article identifies and analyzes the nature of these features, which are an organic combination of scientific knowledge (philosophical, mathematical, technological) with the theory and practice of art. The thesis is that due to creative and pedagogical activity of Volodymyr Shapovalov, there is the only phenomenon in Ukraine, when the Academy, where the main emphasis is on the easel art and design, manages to organize a group of artists who have chosen ceramics as the main material for their creative pursuits and implementation. In fact, there emerges a school that demonstrates fundamentally different approaches to ceramics from those which are used in traditional pottery and ceramic schools. It is based on the “layering” of the work, the search for harmony in the embodiment of philosophical reflections and technological experiments in ceramics, on narrativity, on the attempt to understand the inner state of things. Attention is drawn to the peculiarities of the author’s method of mastering the theoretical and practical knowledge of ceramics. A certain set of special characteristics of Volodymyr Shapovalov’s creativity is defined and the presence of these features is clearly noticeable in the works of his students: Olexander Miroshnichenko, Olexey Podlipsky, Liza Mamay and Vyacheslav Pasynok. Volodymyr Shapovalov’s artistic language is considered in the context of a direct relationship with nature, close attention to detail, the application of scientific knowledge from various fields for creative and technological experiments in ceramics. Particular attention is paid to the analysis of the place and role of Kharkiv art ceramics in the context of modern ceramology and Ukrainian art process.

Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms of work with the listener. The nuances of the instrumental accompaniment of a vocal composition (and not only) in conditions of genre and style diversity of the musical life of Kharkiv were the peculiarity of fruitful activity of the musician for many years. Is there a connection between this form of creative activity (at first glance, simple and not the most important) and other manifestations of the academic professional development of a musician? The answer to this question is the relevance of the topic of the article, devoted to the characteristics of O. Nazarenko’s concertmaster activity. The lack of a special study of the stylistic aspects of his concertmaster’s activity drove a necessitaty to take note to the biographical facts of the artist’s life in order to generalize the components of his performing skills. Analysis of the latest publications on the topic. O. Nazarenko’s compositional work for accordion is presented in the researches of Kharkiv accordionists and musicologists Y. Dyachenko (2012), M. Plushenko (2017), I. Snedkova (2016), A. Sagittarius (2018).However, these authors did not address the problem of concertmaster activity of O. Nazarenko, which was an important part of his professional growth as a model for the young generation of accordionists, drawing attention to this aspect of his performing arts. The object of research is the musical activity of O. Nazarenko; subject – concertmaster component of the artist’s creative universalism. The purpose of the article is to comprehensively research the process of evolution of the concertmaster’s activity of the famous Kharkiv accordionist Oleksandr Nazarenko. The research methodology is based on a complex of historical, genre-style and system approaches. Presenting of the main material. His acquaintance with concertmaster’s skill and it’s mastering O. Nazarenko began quite early – during the third year in B. Lyatoshynsky Kharkiv Music School (1955). Working with artists, he went with concerts to small factories, factory workshops (during breaks in the “red corners”), dormitories and clubs, where were held 40-minute meetings, where O. Nazarenko was accompanying dancers and vocalists. While studying at the Kharkiv Conservatory (1957–1962), he toured with a student team, where he was accompanying the instruments of the folk orchestra (domra, balalaika), symphony orchestra (violin, cello) and vocal performances. O. Nazarenko strived for performing activity, and therefore he chose the direction of creative work as a soloist-accordionist of the Kharkiv Regional Philharmonic (1962–1967), where together with solo performances he began professional concertmaster activity, working in various genres (vocal, dance and original). After graduating from the conservatory, O. Nazarenko paid much attention to the technique of reading from a sheet of works for piano, studied professional accompaniment to soloists, gained experience in concertmaster’s work to learn the new repertoire with artists. At the Department of Folk Instruments, students and teachers competed with each other in better technique of reading from a sheet, transposition into any key, play a tune by ear, improvisation, and skillfully translation the piano texture into accordion. According to the professor’s words, in order not to lose his performance skill during the tour and to maintain the technical level, he tried to practice even on a bus. He played accordion technical exercises with ready-made chords and fragments from masterpiece works (G. Diniku “Romanian round dance”, introduction to the opera “Ruslan” by M. Glinka); always worked on the plastic of his right hand. Most often, the acquaintance with the musical text took place during the move or a short time before the concert. Soloists-vocalists gave piano notes and indicated in what key they were comfortable to sing. Thus, the accordionist had to analyse the texture without an instrument, sing the melody in the required key with his inner ear, and transpose the musical material. O. Nazarenko tried to enrich the instrumental accompaniment with texture (counterpoint, melodic undertones) in order to move away from the primitive form (bass-chord support). The intention to complicate the accordion part made O. Nazarenko to improve his skills constantly in the selection of means of expression, intonation, the search for timbre diversity, all means which create true artistic values. Accompanying the soloists, the artist paid special attention to the thinning of the sound, imitating stringed instruments. While accompanying a group of brass instruments of a symphony orchestra (trumpet, trombone), he tried to convey the effect of “spaciousness”, equalling the techniques of sound production of brass instruments. Thus, performing a popular song of the Great Patriotic War “At Nameless Height”, O. Nazarenko imitated the replicas of the trumpet signal, and in the song “Buchenwald’s alarm” his performance gained maximum tension, sharpening and concentration in the transmission of bells. The world-famous song for the musical of the same name “Hello, Dolly” accompanied by O. Nazarenko gained a swing accent due to the alternation of the first and fourth parts of the bar and bright intonation. The material for accompaniment in the original genres (acrobats, jugglers, tightrope walkers, illusionists) was Latin American tunes (“Malagenya”, rumba “Valencia”), music for movies (“Serenade of the Sunny Valley”), personal improvisations. Between 1967 and 1987, the Union of Composers of Ukraine had author’s concerts-meetings, where among soloists were present the artists from the Philharmonic, the Opera House and teachers from the Institute of Arts. Well-known composers of Kharkiv such as G. Finarovsky, O. Zhuk, T. Kravtsov, F. Bogdanov, I. Kovach, N. Yukhnovska, O. Litvinov, G. Faintukh, V. Zolotukhin selected the soloists and completed the concert program. In general, during the whole period devoted to concertmaster’s activity, O. Nazarenko performed with more than a hundred soloists-vocalists of academic (bass, baritone, soprano, mezzo-soprano) and folk singing, as well as with numerous instrumentalists. Conclusions. Fruitful work on improving his own professionalism made the master a famous concertmaster-accordionist of Kharkiv. Collaboration with talented artists filled the emotional and intellectual state of the young musician, a rich palette of genres allowed the musician to think more widely and go beyond academism. The variety in the choice of means of expression enriched the technique of reading from a sheet, transposing and transition a piano works into an accordion. The expansion of the dramatic functions of the accordion accompaniment, the arsenal of means of expression contributed to the formation of a new type of ensemble based on the cocreation (equality / subordination) of its participants. This determined the active role of the accordionist concertmaster at all stages of the development of the interpretation plan: from the search for a key idea to its implementation on the concert stage. Working as an accompanist influenced not only his performing skills, but also Nazarenko’s work as a composer. Thanks to the personality of O. Nazarenko, the concertmaster activity of a whole generation of accordionists reached a qualitatively new professional level, and the profession of accompanist became popular among the younger generations working in this complex performance format.

During the 1830s to the 1870s, a cohort of French artists developed new approaches to landscape painting and became known collectively as the Barbizon School. This informal group of artists were proponents of an innovative way of painting in which nature was the central subject of their artworks. Moreover, nature was depicted without the classical idealization or polished refinement required by the French Academy at the time. Barbizon artists were also the catalysts for changes in how art was sold during the 19th century, paving the way for an open art market system that spread across the globe and continues unchanged to this day. Using Jean-Baptiste-Camille Corot (1796-1875) as a case study, I establish the ways in which the Barbizon School forged new stylistic and economic possibilities for later modern art movements, most prominently Impressionism, outside the purview of the French Academy. I also highlight the ways in which the Barbizon artists and their supporters contributed to the formation of a new art market founded upon an interconnected network of producers, consumers, and distributors.

Abstract Whitemen’s schools historically ignore or marginalize non-European cultures, and fail to recognize the cultural capital that non-White students and families bring to the school setting. This article examines the change in attitudes of a small group of California Indian artists after an off-Reservation school district recognized their nondominant cultural capital. Empowered for 3 years to infuse local cultural knowledge and traditional arts practices into elementary-, middle-, and high-school curriculum, Native artists became key actors in the district’s Native Arts Program. In looking for remnants of a cultural arts curriculum 2 years after this initiative was denied additional state funding, this interpretive research found little evidence of ongoing curricular change. Unplanned, albeit more lasting, side effects of this collaborative school—Indian community arts program were normative changes having more to do with Native artists’ status, artistic agency, and perception of the role dominant culture schools should play in Native cultural continuance.

Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of Pop); members of the ′60s Milanese group Azimut; kinetic environments by Padua's Gruppo N and Milan's Gruppo T; artists from Arte Povera; and other, more idiosyncratic installation artists.

In this article graffiti is perceived as the art of living with images operated by young artists. The author draws attention to the fact that this art does not only have a negative perception of character, and thus also a social perception (reception). There is explained what the polarization effect of two neighboring generations of graffiti artists in the social space is - open and hidden, in which a presented group of artists tries to manifest their position and presence. Is it worth talking about graffiti in pedagogy in social sciences? The author analyzes it (graffiti) which may not penetrate the structures of life of the young generation, their school, and out-of-school environments, and what does not become the source of rebellion and also a way for establishing a new type of social and educational relationship.

The article deals with the formation of avant-garde as an alternative to the academic artistic paradigm in the Kharkiv Art School. The contribution of Kharkiv artists to the world culture is determined primarily by the avant-garde art. Its agents, who steadily carried the baton of modernization of artistic culture, were V. Yermilov and B. Kosarev. During 1915–1916 a group of artists, The Union of Seven, was formed at the Art School; their work reflected the diverse palette of changes that accompanied the formation of Cubo-Futurism in Kharkiv. Fundamental changes took place in the artistic culture of Ukraine in the 1920s. The initiative to transform Kharkiv Art School into an Art Technical School with the rights of an institution of higher education in 1921, is attributed to Yermilov (it actually became an institute in 1927). In the 1920s–1930s his teaching team was joined by such artists as Mykola Burachek, Ivan Padalka, Oleksander Khvostenko-Khvostov, Anatol Petrytsky, and Borys Kosarev. Studios were established: easel painting (Mykhailo Sharonov), monumental (Lev Kramarenko), and theatrical (Oleksander Khvostenko-Khvostov). From 1922 to 1934 Yermilov led the graphics studio (together with Padalka starting in 1925). The key figures in the creation process of artistic avant-garde culture in Kharkiv after the 1930s were V. Yermilov and B. Kosarev, who influenced the formation of the next generation of artists. Yermilov’s work in Kharkiv (including teaching at Art Institute) had an impact on the creative features of O. Shcheglov, V. Platonov, V. Savenkov, and defined the horizon of effective development of design in the region. Among those who continued Yermilov’s design traditions are M. Molochynsky, І. Krivoruchko, V. Lesnyak, O. Bojchuk, V. Danilenko, O. Veklenko. Launched by the latter International Environmental Forum of Eco Poster “The 4th Block” has found quite a resonance in the world. “Yermilov’s Mansard” appeared on Kharkiv cultural space as an artistic centre and an original example of artistic design in the spirit of Bauhaus. Due to B. Kosarev a constellation of talented artists appeared in Kharkiv artistic culture and defined its uniqueness. Among his students in the theatre and decorative department there were such people as a teacher Konstantinov; a theater artist, a Doctor of Architecture, corresponding member of the AAU V. Kravetz; the Main artist of Kharkiv State Academic Ukrainian Drama Theater named after T. Shevchenko T. Medvid; theatre artists M. Kuzheliev, G. Nesterovska, P. Osnachuk, L. Pisarenko, N. Rudenko-Krayevska and others. Among the artists, whose creative work shaped under the influence of B. Kosarev, were Honoured Artist of Ukraine, member and Vice President of AAU V. Sidorenko, and Honored Artist of Ukraine, famous graphic N. Myronenko.

The term New York School is usually applied to a number of American visual artists working in and around Manhattan from the early 1940s through to the late 1950s. The group included abstract expressionists, abstract impressionists and action painters; among its leading lights were Willem de Kooning, Mark Rothko, Jackson Pollock, Philip Guston and Franz Kline. The typical features of New York School art were innovative individual expression and a rejection of past tradition. And while this led to the development of a number of independent styles, rather than a single group style, the overall result was a characteristic American avant-garde approach to art which had much influence internationally.

The historical and cultural preconditions for the emergence of the group of composers “Kyiv Avant-Garde” in the context of the 1960s have been studied. The projection of the ideas of Borys Lyatoshynsky’s school in the creative search of his students Leonid Grabovsky and Valentyn Silvestrov, iconic figures of the Ukrainian musical culture of the second half of the XX century is considered. The innovative features of Lyatoshynsky’s school in the transformations of the worldviews of both artists, who marked their creative path with high professionalism and individual artistic and aesthetic achievements, are outlined. The aim of the research was the cultural component of Borys Lyatoshynsky’s school in the context of the creative achievements of Leonid Grabovsky and Valentyn Silvestrov. The musical material and scientific publications related to the works of these artists, which form a unique picture of the processes of formation of Lyatoshynsky’s school, are analyzed. The research methodology consists of structural-functional, comparative and system-activity approaches. In the process of complex culturological analysis of the school of the outstanding artist, the projection of its ideas in the musical and creative narratives of Leonid Grabovsky and Valentin Silvestrov was clarified.

This inquiry examined teachers' perspectives on learning to teach in and through the arts by administering multiple protocols - a focus group, questionnaire and survey - throughout an integrated arts professional development program involving artists. Findings indicate that when artists are involved in professional upgrading, teachers acquire the confidence to express themselves freely, they are willing to teach the arts in their own classrooms, they realize the potential and value of the arts within the school curriculum, and they develop arts-specific teaching expertise. Further, the teachers' sensitivity to their own creativity and openness to experimentation is heightened, and an awareness of the potential of the arts to develop a student's imagination, intuition and personal expressiveness is developed.

This chapter is an overview of how Monteverde settlers transformed their environment into a diversity of agricultural systems. We first discuss “people living in nature,” how Monteverdans have viewed natural resources and defined sustainability. We describe the environmental and social conditions that determined agronomic options in the area, and outline the area’s major agricultural activities (dairy, coffee, and beef), other crops, and efforts at agricultural diversification. Where possible, we cite published studies, but few exist for some issues. We rely heavily on local experts, including long-term community members, local agronomists, veterinarians, and farmers. We also draw on agricultural production data collected by local organizations. From the earliest indigenous settlers to today’s commercial farmers, biologists, and artists, Monteverde’s inhabitants have exhibited a wide spectrum of approaches to natural resource use. The community’s ongoing debate over the meaning and practice of “sustainability” throws into sharp relief residents’ differing worldviews, kinds of knowledge, and perceptions of constraints and opportunities. People’s decisions on how to use natural resources depend on three factors: their attitudes and beliefs, their knowledge, and the opportunities, constraints, and conditions that they confront. For example, beliefs may demand that people be “stewards” of the land, that they use resources to maximize economic returns during their lifetime, or that they use resources as sparingly as possible. Their knowledge may prepare them to be organic vegetable farmers, traditional dairy farmers, business people, or biologists. The social, environmental, and economic context in which they make decisions further defines which options are available or attractive. As one local farmer stated, “We do the best we can with what we have, based on what we know, and what the circumstances permit or encourage us to do.” Monteverdans generally agree that “sustainable agriculture” is a good thing, but there is less agreement on what it means. Following the taxonomy of Gillespie (1998), three sustainable agriculture “schools of thought” exist in Monteverde. The first group is the “Ecocentric Agriculture” school, whose approach focuses on what is sustainable in a biological/ecological sense. Many local biologists and organic producers espouse this view.

Alois Fürstner of the Max-Planck-Institut Mülheim devised (Angew. Chem. Int. Ed. 2013, 52, 14050) a Ru catalyst for the trans- selective hydroboration of an alkyne 1 to 2. Qingbin Liu of Hebei Normal University and Chanjuan Xi of Tsinghua University coupled (Org. Lett. 2013, 15, 5174) the alkenyl zirconocene derived from 3 with an acyl azide to give the amide 4. Chulbom Lee of Seoul National University used (Angew. Chem. Int. Ed. 2013, 52, 10023) a Rh catalyst to convert a terminal alkyne 5 to the ester 6. Laura L. Anderson of the University of Illinois, Chicago devised (Org. Lett. 2013, 15, 4830) a protocol for the conversion of a ter­minal alkyne 7 to the α-amino aldehyde 9. Dewen Dong of the Changchun Institute of Applied Chemistry developed (J. Org. Chem. 2013, 78, 11956) conditions for the monohydrolysis of a bis nitrile 10 to the monoamide 11. Aiwen Lei of Wuhan University optimized (Chem. Commun. 2013, 49, 7923) a Ni catalyst for the conversion of the alkene 12 to the enamide 13. Kazushi Mashima of Osaka University optimized (Adv. Synth. Catal. 2013, 355, 3391) a boronic ester catalyst for the conversion of an amide 14 to the ester 15. Jean- François Paquin of the Université Laval prepared (Eur. J. Org. Chem. 2013, 4325) the amide 17 by coupling an amine with the activated intermediate from reaction of an acid 16 with Xtal- Fluor E. Steven Fletcher of the University of Maryland School of Pharmacy designed (Tetrahedron Lett. 2013, 54, 4624) the azodicarbonyl dimorpholide 18 as a reagent for the Mitsunobu coupling of 19 with 20. The reduced form of 18 was readily separated by extraction into water and reoxidized. Jens Deutsch of the Universität Rostock found (Chem. Eur. J. 2013, 19, 17702) simple ligands for the Ru-mediated borrowed hydro­gen conversion of an alcohol 22 to the amine 23. Ronald T. Raines of the University of Wisconsin devised (J. Am. Chem. Soc. 2013, 135, 14936) a phosphinoester for the efficient conversion in water of an azide 24 to the diazo 25.

Chapter 2 focuses on the band Pylon. In the late 1970s and 1980s, the University of Georgia’s (UGA) art school introduced suburban and small-town Georgia kids—like members of Pylon—to the possibilities of a creative life. If drag pushed some people in Athens to dress up and perform, art school taught people to make things. These young students who loved punk music were inspired to experiment with music-making and learned about the rise of performance in their art classes. Pylon may have started as performance art, but the band did more than any other local group to transform a network of gay and queer artists and their friends into a real bohemia. Pylon expanded the B-52’s’ fusion of pop art ideas and performance art practices. Around the same time, the UGA’s art school and art professors had an experimental curriculum that blurred the boundaries of art and life. Learning took place both within and outside of the classroom, with art professors modelling alternative ways to live to their students. Yet many of the few women in the art program experienced sexism. In the art crowd, sexuality and gender did not map easily onto conventional dichotomies.

Maoecrystal V 3, isolated from the Chinese medicinal herb Isodon eriocalyx, shows selective inhibition of HeLa cells at low nanomolar concentration (IC50 = 60 nm). Chuang-Chuang Li of Shenzen Graduate School of Peking University and Zhen Yang of Peking University, Beijing, designed (J. Am. Chem. Soc. 2010, 132, 16745) the first total synthesis of 3, based on the intramolecular Diels-Alder cyclization of 1 to 2. The preparation of 1 began with the ketone 4. Methoxycarbonylation of 4 followed by with high diastereocontrol to coupling with 6 delivered 7. As expected, hydride reduction of the cyclic β-keto ester proceeded give the undesired trans diastereomer. Fortunately, the bulky tetrabuylammonium borohydride delivered the cis diastereomer, which could be reduced to the diol 8. Rh-catalyzed carbene insertion into the O-H bond followed by condensation with formaldehyde then completed the preparation of the precursor 10. Deprotection of 10 followed by oxidation presumably gave 1. There are two faces to the diene of 1, and then the acetoxylated stereogenic center, so four products are possible. In the event, three of the four were observed, of which 2 was the major. To complete the synthesis of 3, the secondary alcohol of 11 was introduced by allylic bromination followed by radical reduction and trapping with TEMPO. The acetoxy group was reduced off, and then the more reactive alkene was removed by selective hydrogenation. Oxidation and base treatment then delivered the equilibrium mixture of (±)-maoecrystal V 3 and its methyl epimer. The synthesis of 3 as reported led to the racemate of the natural product. The starting cyclohexene 1 can be prepared (Tetrahedron Lett . 2000, 41, 3871) from 2,2-dimethylcyclohexane- 1,3-dione 12. Yeast reduction of the prochiral 12 is known to proceed with high (S)-induction. It may be that a route could be devised from the reduction product 13 to enantiomerically pure 7.

Soon after he feels the freedom of traveling with a group of artists across Austria and Czechoslovakia and has his first extended affair with a woman in the group. He also meets and befriends in Vienna the noted graphic designer Joseph Binder. This is with Elma Pratt’s International School of Art. He grows more disgruntled with the narrowness of his role at Anatolia College, and at the same time feels pressure from the family to return to the U.S., even though friends and teachers warn him of the state of the economy in 1932‒33 in the U.S. and urge him to think twice about giving up his position at Anatolia. Meanwhile, his adherence to a purely religious understanding of life is more and more challenged by the psychoanalytic vision of life and its vocabulary. By the summer of 1933, he decides to return to America and in the fall travels with Joseph Binder to New York.

Abstract Mentoring challenges range from common stresses to problems that can involve deeper and more challenging roots. Graduate school is hard and stress is organic to it. The most common stressors grow from the intense workload and the intellectual struggles that are inherent to graduate school. Stress, however, can also grow from group dynamics, life-balance issues, and the natural developmental stages students go through. The harder, and less normal, stresses include mental health challenges such as depression, which is common among students, emotional entanglements between faculty and their trainees, and students who are struggling and failing. Professors must deal with all these challenges, but most universities have administrative and mental health staff who can help both the faculty member and the student.

International regulations about Accessibility and Design for All are clear. They provide two guidelines to ensure equality, autonomy, and non-discrimination, such as Reasonable Accommodation and Universal Design (or Design for All). Reasonable Accommodation leads to Adapted Fashion, which adjusts clothing to the body (average clothes for the average consumer). Universal Design leads to Inclusive Fashion, which creates clothes for everybody even if you have a body issue. Design for All (or Universal Design) implies projecting from the beginning to the end of the design process based on inclusion. In this context, the Museum-Foundation Juan March in Palma was the starting point to conceive, develop and communicate a collaborative and transdisciplinary design project; it was designed under the principle of Universal Design. This transdisciplinary co-design project took place during the first semester of the 2019–2020 academic year with a third-year BA in Fashion Design students. They designed an inclusive ready-to-wear fashion micro-collection, which focused on sensitizing BA in Fashion Design students, promoting a change of attitude, and fostering a better understanding of the challenges clothing design process. Students were invited to complete two online questionnaires to collect data on the project. The first survey was used to assess alumni’s perception of acquisition, development, and/or consolidation of key competences in participating students and control groups. The second survey was used to assess alumni’s activity on the project among participating students. This project was aimed at sensitizing BA in Fashion Design students, promoting a change of attitude, and a better understanding of the challenges clothing design process. After visiting the museum, getting inspired by their artists and their works of art, creating a mood board, and drawing the first sketches, two groups were created to develop an inclusive, ready-to-wear fashion micro-collection. Each collection focused on a different users’ profile: one group worked with a model with achondroplasia (woman), and the other group worked with two wheelchair models (man, woman). Despite the mixed results, the main objectives of the project were reached. As members of a school community, students must learn about other realities that differ from their everyday environment. As members of a school of design, students must be aware of an important prospective market niche and expand their fields of action that must include Design for All. In any case, human diversity is the key concept to approach user-centred design in the twenty-first century. The «Museum and Inclusive Fashion» project was part of an ongoing academic research project funded by the Balearic Government (2017–2020). This article reflects the views only of the authors, and the Balearic Government cannot be held responsible for any use which may be made of the information contained therein.

Music education has formed part of compulsory education levels in Spain since the entry into force of the Organic Law for the LOGSE of 3 October 1990. Nonetheless, it cannot be said that music education is fully consolidated at these education levels. The purpose of this article is to determine the perception of currently active teachers regarding their daily teaching practices in the subject of music. A focus group of 11 active teachers was established, all of whom were civil servants: six primary school teachers and five compulsory secondary and higher secondary education teachers. The results show that problems arise due to their different conceptions of music education, as well as the lack of connection between teaching practice and the supporting theory. It is therefore considered necessary to reflect on these aspects with a view to definitively establishing this subject as a basic and integral part of the school curriculum.

Most of us are familiar with charcoal from sketching with it at school, or using charcoal bricks for a barbecue. You will have noticed that it got your hands dirty, that it is brittle, and that it is quite light—at least, lighter than an equivalent piece of uncharred wood. You may also have associated the black residues left after a bonfire with charcoal. If you have been to an area where the vegetation has been destroyed by wildfire, you may have also noticed black residues of charcoal on the ground that make a crunching sound beneath your feet. Our first two examples of charcoal are both products of human manufacture. The bonfire charcoal is a naturally formed material, but still the link with wildfire may not be made. When we see images of burning vegetation it is natural to imagine that all the plant material is consumed by the flames. Yet, as I came to realize on my visit to the site of the Hayman Fire, there is often a significant quantity of unburned material, and charcoal residues as well. Why are we left with charcoal after a fire? Charcoal is produced by heating plant material (most commonly wood, but not exclusively so) in the absence of oxygen. So it isn’t a product of the fire itself, but of the intense heat from the fire. Wood is essentially made up of two organic compounds: cellulose and lignin. Both compounds consist of carbon, hydrogen, and oxygen, but they differ in structure and therefore in properties. In cellulose, the carbon atoms are arranged in straight lines (it is an example of an aliphatic compound). It is the material from which paper is made. In lignin, on the other hand, the carbons are arranged in rings (it is an aromatic compound), and it is this structure that gives wood its toughness and strength. Industrial charcoal is used for a variety of metallurgical processes, and as adsorbents and food additives, as well as for barbecues and artists’ materials, so its formation has been carefully studied.

In this presentation we will analyze the multimedia artwork In Memorian, 2021, from the Research Group Realidades (School of Communication and Arts of University of São Paulo, ECA-USP, Brazil). The artwork is a web art that deals with the visualization of data from the coronavirus pandemic in Brazil. These data are appropriated from online databases and it works as the rule of loss of information from 1988’s Brazilian Federal Constitution, Title II - Of Fundamental Rights and Guarantees. The text is fragmented proportionally to Brazilian population and, then, loses its information, pixel by pixel, according to the daily number of deaths by covid-19 in the country. The authors of this presentation are members of the Realidades Group, thus, this analysis will be filled with our creative processes, poetic motivations and the development phases of the artwork. In Memorian exposes the precarious situation of the democratic rights guaranteed by the mentioned article of the Brazilian constitution. Brazil couldn't control covid-19 pandemic. Researches pointed out that it was due to a series of omissions and failures by public managers, mainly the federal government. However, the democratic rights have been under attack for longer. Brazil’s political scene has become dominated by openly conservative, "anti-politics" and "anti-science" wills, quite driven by desinformation and fake news. And all these relationships are fundamental to the development of the work. It seeks to materialize and illustrate hundreds of thousands of deaths in order to make visible the colossal size of human loss. The amount of deaths shatter the black words over the white background, damaging the text and making the reading more difficult. On the work’s website, the text is exhibited in perspective and can be vertically scrolled. It also contains an interactive ruler that shows the Brazilian daily and total number of deaths, enabling the interactor to move across the timeline. The visual character of a ‘monument for the dead’ complaints the governmental negligence that causes this amount of suffering, actions that must not be simply forgotten. In addition, it points out the need for more transparency of covid’s diagnosis and deaths registration and comments on the alarming political scenario that surrounds the sanitary crisis. Furthermore, this artwork is a data visualization piece, which is a very much explored technique used by multimedia artists. We will address its usage to enhances the visibility of things that are often hard to see. We will show another similar artwork in theme, 'Inumeráveis”, 2020, created by a collective of volunteer artists and journalists. Claiming that "alive or dead, we will never be [just] a number", the site is an online monument that features shared stories about the victims, giving individuality to each of them. In Memorian was in the online exhibition EmMeio#13 associated with the Panoramas 2021 event. Additionally, we point out its interaction in different social networks and its own numerical and online nature. The pandemic crisis in Brazil and around the world is not a past reality, still claiming countless lives. Unfortunately, the artwork remains operational.

In order to meet the demand of sustainable development of agriculture, we should enhance the competitiveness of small-scale peasant economy, grasp the business channels, grasp the business opportunities, and expand the new development of agriculture by strengthening and integrating the sales channels of agriculture. Sales channels have a positive impact on the development of small-scale farmers' economy. Hualian Changliang organic group develops through diversified channels such as school nutrition lunch, farmer's market, chain supermarket and farmer's direct selling station, so as to improve the sales volume of agricultural products and expand the new development of small-scale peasant economy. Through in-depth interviews, the sales channels of Qingyuan Bailijin Agricultural Technology Co., Ltd. are mainly divided into online and offline Channel, offline distributors are directly used for distribution, while ‘Wechat’ is used for online sales. The diversified development of channels has a certain impact on the sales volume of agricultural products. The development of small-scale peasant economy in Hualian and Qingyuan depends on the expansion of sales channels. The establishment and deepening of diversified online and offline sales channels affect the development of small-scale peasant economy and the sustainability of agricultural development.