Academic literature on the topic 'Grupo El Paso (Artists' group)'
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Journal articles on the topic "Grupo El Paso (Artists' group)"
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Cieślak, Agnieszka. "Bronisław Mirski - Polish Music Director of the Silent Film Era1." Musicology Today 17, no. 1 (December 1, 2020): 72–83. http://dx.doi.org/10.2478/muso-2020-0006.
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Abstract Bronisław Mirski (b. 1887 as Moszkowicz in Żyrardów near Warsaw, Poland – d. 1927 in El Paso, Texas) belongs to the substantial group of Polish émigré artists of Jewish origin. A violinist and conductor educated in Europe, he permanently settled in the United States at the end of 1914 under the name of Nek Mirskey and soon began working as a music director in movie theatres. He was in charge of the musical settings for elaborate artistic programmes composed of silent films as well as music and stage attractions. His first widely acclaimed shows were presented at the Metropolitan Theatre of Harry M. Crandall's chain in Washington, D.C. Based primarily on the American press of 1921–23, this article discusses Mirski's work methods and his involvement in improving the quality of live musical accompaniment for silent films. The work that he continued till the end of his life places him among the foremost musicians of the silent film era.
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Ruiz-Mosquera, Ana Cristina, Mª Josefa Vázquez-Fernández, and Evaristo Barrera-Algarín. "Intervención con Jóvenes NiNi en Centros de Inserción Socio Laboral: Mejora de la Autoestima y el Miedo a la Evaluación Negativa." Revista Internacional de Educación para la Justicia Social 10, no. 1 (May 28, 2021): 167–80. http://dx.doi.org/10.15366/riejs2021.10.1.010.
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Se presenta investigación con jóvenes NiNi para conocer cómo influye en ellos el paso por un centro de inserción socio laboral. Hipótesis de investigación: Los programas de los centros de inserción socio laboral de jóvenes NiNi son capaces de fortalecer la autoestima y reducir el miedo a la evaluación negativa. Metodología: Investigación experimental tipo Posttest-Only Control Group Design, con 2 grupos control a 34 sujetos que quedan ubicados en 3 grupos: Grupo Experimento (9 meses y más en programas de inserción socio laboral), grupo control A (hasta 2 meses en programas de inserción socio laboral), y grupo control B (entre 3-8 meses). Se aplica cuestionario de variables socio demográficas (Alfa de Crombach), Escala de Autoestima de Rosenberg, y Escala de Miedo a la Evaluación Negativa (FNES). Se realiza análisis de frecuencias, análisis de correlaciones, de fiabilidad y prueba de U de Mann-Whitney. Resultados: Los jóvenes NINI entran en programas de inserción socio laboral buscando aspectos de mejora en su vida; Se produce una mejora de la autoestima y reduce su miedo a la evaluación negativa; factores correlacionados (p < 0,001). A más tiempo en los programas mayor implicación de los jóvenes en términos de asiduidad y asistencia a los mismos.
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Benezra, Karen. "Media Art in Argentina: Ideology and Critique “Después Del Pop”." ARTMargins 1, no. 2–3 (June 2012): 152–75. http://dx.doi.org/10.1162/artm_a_00023.
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This article examines the rise and reception of conceptual art in Argentina. Against dominant readings of the 1960s' and 70s' visual avant-gardes in Latin America, I reconsider the stakes of art's so-called “dematerialization” and its unique claim on ideology critique in the work of the Grupo Arte de los Medios [Media Art Group], a collective of young artists led by the philosopher and literary critic Oscar Masotta. Arguing for a re-historicization of the 1960s avant-garde as one that emerges as a self-reflexive reaction to the novel articulation of late capitalism in Argentina, I trace a critical continuity between the Grupo Arte de los Medios and the avant-gardist claims on the fusion of art and militant politics among its immediate successors. I suggest that the Argentinean avant-garde defined its radical political stance through a reflection on the immanent relation of structural cause to symbolic form, probing and pointing to the limits of the operation of estrangement.
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Merino, Antonio. "Las estaciones de lo Real. César Vallejo y la (no) poética del 27." Archivo Vallejo 1, no. 1 (November 29, 2018): 10. http://dx.doi.org/10.34092/av.v1i1.23.
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El papel que juegan las vanguardias en César Vallejo supone un paso más en la gestación y reafirmación de una obra que asume, con todas sus contradicciones, la contextualización de un tiempo que, poco a poco, dará paso a una brutal dialéctica. Vallejo lo vivirá de primera mano junto a los intelectuales europeos y del llamado grupo del 27, los cuales condensaban una sensación de vacío y de pérdida de identidad que en Vallejo poco o nada tendrá que ver con ese universo tan personal que hace visible lo real para ofrecernos una nueva forma de entender la poesía del siglo XX. ¿O estamos hablando del XXI?
ABSTRACTThe role played by the avant-garde in Cesar Vallejo is one more step up to the gestation and reaffirmation of a work that assumes, with all its contradictions, the contextualization of a time which, little by little, resulting in brutal dialectics. Later, Vallejo lived it first-hand with European intellectuals and the so-called Group 27, which condensed a sense of void and identity loss having little or nothing to do with this so personal universe that makes the real thing visible. In that way, it offers a new understanding of the poetry of the 20th century. Are we talking about the 21st century?
Keywords: Avant-garde, dialectic, individualism, aesthetics, reality.
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Valente, Maureen. "Maturational Effects of the Vestibular System: A Study of Rotary Chair, Computerized Dynamic Posturography, and Vestibular Evoked Myogenic Potentials with Children." Journal of the American Academy of Audiology 18, no. 06 (June 2007): 461–81. http://dx.doi.org/10.3766/jaaa.18.6.2.
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Maturational effects were investigated in two age groups (N = 30 per group) of children with normal hearing sensitivity, using rotary chair (RC), computerized dynamic posturography (CDP), and vestibular evoked myogenic potential (VEMP) measures. Children recruited within the younger group were three through six years of age, and children within the older group were nine through eleven years of age. Data obtained for each pediatric group were compared with clinic and/or published adult normative data for each measure. Significant age effects were seen on many CDP subtests (sensory organization test and motor control test); VEMP latencies; and RC gain, phase, and step velocity measures. The results of this study demonstrate significant maturational effects from preschool age through adulthood and suggest that adult normative data may not be appropriate when interpreting pediatric test results. Since adult techniques should oftentimes not be utilized, a proposed test battery is described that may be efficiently utilized with pediatric patients. Se investigaron los efectos de la maduración en niños con sensibilidad auditiva normal en dos grupos de edad (n = 30 por grupo), utilizando la silla rotatoria (RC), la posturografía dinámica computarizada (CDP) y mediciones de potenciales evocados miogénicos vestibulares (VEMP). Los niños reclutados dentro del grupo más joven tenían de tres a seis años de edad, y los niños en el grupo más viejo tenían de nueve a once años de edad. Los datos obtenidos de cada grupo pediátrico se compararon con datos normativos de adultos, clínicos y/o publicados, para cada una de las mediciones. Se encontraron efectos significativos de la edad en muchas sub-pruebas de la CDP (pruebas de organización sensorial y pruebas de control motor), en las latencias del VEMP, las medidas de ganancia, fase y velocidad de paso de la RC. Los resultados de este estudio demuestran efectos significativos de maduración en niños pre-escolares hasta la edad adulta, y sugiere que los datos normativos de adultos pueden no ser apropiados cuando se interpretan resultados pediátricos. Dado que las técnicas para adultos a menudo no deben ser utilizadas, se describe una batería propuesta de pruebas que puede ser eficientemente usada en pacientes pediátricos.
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Parodi, Claudia. "Fracturas lingüüíísticas: Los estridentistas." Mexican Studies/Estudios Mexicanos 22, no. 2 (January 1, 2006): 311–29. http://dx.doi.org/10.1525/msem.2006.22.2.311.
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En este trabajo reviso la labor de los estridentistas, grupo mexicano de vanguardia cuya importancia no se ha reconocido en el mundo de la críítica literaria. Tras situar sus presupuestos estééticos en el cosmos de la vanguardia en general, muestro los cambios y la evolucióón que sufren los estridentistas, especialmente Manuel Maples Arce, figura central del grupo. Correlaciono y ejemplifico los cambios en sus obras con las modificaciones de su paradigma estéético segúún las fueron presentando en sus cuatro manifiestos. Propongo dos etapas. En la primera, por centrarse en el significado y la ambigüüedad de las palabras, se crea un arte fragmentado y altamente abstracto. En la segunda, en cambio, por utilizar metonimias, producen, sobre todo, textos de corte cubista máás comprometidos con la situacióón social de Mééxico. In this paper I analyze the work of the Estridentistas, a Mexican avant garde group of artists, whose work has been overlooked by most literary critics. After discussing their aesthetic paradigm in relation to the general avant garde movement, I focus on the changes and evolution within the Estridentista literature by examining the writings of these artists, mainly the work of Manuel Maples Arce, the leading figure of the movement. I compare the changes in their work with how the Estridentistas' aesthetic paradigm evolved in their four manifestos. I propose two stages to explain their literary evolution. In the first stage, they created a fragmented and highly abstract art by focusing on the meaning and the ambiguity of words, whereas in the second stage they produced cubist texts by mainly using metonymies. In addition, they showed interest in Mexican social problems.
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De Faria, Karina. "TEATRO BRASILEIRO DOS 70: BAHIA, RIO DE JANEIRO, RUDÁ, MÁRCIO MEIRELLES E AVELÃZ Y AVESTRUZ." Arteriais - Revista do Programa de Pós-Gradução em Artes 9, no. 15 (December 29, 2023): 56. http://dx.doi.org/10.18542/arteriais.v9i15.15706.
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ResumoO presente artigo trata da trajetória do grupo teatral baiano Avelãz y Avestruz, cuja estreia se deu no ano de 1976, em Salvador, revelando, com maior destaque, o percurso do diretor Márcio Meirelles. O texto contextualiza o surgimento do grupo a partir das expressões artísticas teatrais encontradas no Brasil, na década de 1970, considerando o conceito e a história da contracultura que invade o cenário internacional, com maior vigor nos anos 60. Outros grupos teatrais brasileiros atuantes no período são citados, tendo em vista suas especificidades e aproximações. O trabalho aborda, ainda, o posicionamento estético e político de intelectuais, artistas, grupos e obras frente ao golpe civil-militar iniciando no ano de 1964, no Brasil, expondo dissidências e convergências.AbstractThis article discusses the trajectory of Avelãz y Avestruz Bahian theater group, which premiered in Salvador in 1976, revealing with great standing the journey of director Márcio Meirelles. This paper explores the emergence of the group from existing theatrical artistic expressions in Brazil in the 1970s, considering the concept and counterculture history that overran the international scene with great impact in the 1960s. Other active Brazilian theater groups in the period are referenced taking into consideration their specificity and correspondence. The work also addresses the aesthetic and political positioning of intellectuals, artists, groups, and works in the face of the Brazilian civil-military coup starting in 1964, exposing conflicts and convergences.
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Padilla Bueno, Daniel Augusto, Hugo Fernando Mamani Gutiérrez, Ingrid Nicole Rioja Flores, Carlos Federico Romero Flores, and Laura Patricia Trujillo Chávez. "Investigación-Acción Participativa en el Grupo denominado “Colectribu” de Jóvenes Artistas en situación de Riesgo Social." Revista Investigación de Psicología, no. 26 (December 28, 2021): 131–42. http://dx.doi.org/10.53287/blyk2648pi36c.
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This research tries to describe the group dynamic that unravels between members of the hip hop artistic collective “Colectribu”, consisting of young people in social risk, exposed to phenomena such as violence, gangs and substance abuse, they attend the “Resistencia Juvenil” program dependent from the La Paz Foundation. It describes a space of artistic development allowing growth of artistic abilities by means of lyricism workshops, musical production and others types of workshops. At the same time the concept of gang reformulates, leaving behind the violent intent to redirect the work from “Colectribu” to creation, social contribution and personal growth. “[Colectribu] is a union of youth who come from different places of La Paz who get together joined by hip hop, it’s a way of expressing to people a new message, that is conscious and reflexive”. An action-participative study was made, as well as a documentary who logs the reality of the members of the group that can be found at https://youtu.be/fiX6eR1FV4A.
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Megahed, Mohamed, and Zahraa Tarek. "Improving spatio-temporal stride parameters, lower limb muscles activity and race walkers’ records after 12-weeks special exercises using rhythmic auditory." SPORT TK-Revista EuroAmericana de Ciencias del Deporte 12 (September 12, 2023): 7. http://dx.doi.org/10.6018/sportk.506961.
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This study aims to know the effect of 12-weeks of special exercises using rhythmic auditory to improve spatio-temporal stride parameters (STSP), lower limb muscles activity (LLMA), and 10000m racewalking time (RT). The parameters of STSP are stride length (SL), step cadence (SC), and center-of-mass velocity (CMV). The research sample included twelve racewalkers, and they were divided into two groups (control group and experimental group, six in each). STSP was measured using a Sony camera at a speed of 50 frames/sec for analyzing 25-samples for each racewalker in the 10000m racewalking. LLMA was measured using EMG. In addition, we applied the 10000m test to measure RT. Rhythmic auditory was used to regulate the step rhythm in seven special exercises and the essential part of the training. The steps rhythm was divided into three levels: the 1st slow auditory rhythm, the 2nd comfortable auditory rhythm, and the 3rd fast auditory rhythm. From our findings, there is a significant difference in the post-test for SC, CMV, LLMA, and RT, favoring the experimental group, where P.04<.05, η2=.732 for SC, P.038<.05, η2=.485 for CMV, P.015<.05, η2=.333 for LLMA, and P.044<.05, η2=.483 for RT. While there is no significant difference in the post-test for SL, where P.264>.05. In addition, there is a significant improvement between groups favoring the experimental group as ROC=1.62,5.76,7.48,33.9, and 7.03% for SL, SC, CMV, LLMA, and RT respectively. Comparisons showed that the post-test achieved greater improvement with a large effect in STSP, LLMA, and RT compared to the pre-test that achieved a small effect. Therefore, the rhythmic auditory in the training has a beneficial role in improving spatio-temporal stride parameters, lower limb muscles activity and racewalkers’ records. El objetivo de este estudio fue investigar el efecto de 12 semanas de ejercicio con audición rítmica en la mejora de los parámetros de zancada espaciotemporal (STSP), actividad muscular de las extremidades inferiors (LLMA) y tiempo de marcha de 10.000 metros (RT). Los parámetros de los pasos espacio-temporales de la zancada son la longitud de la zancada (SL), el ritmo de la zancada (SC) y la velocidad del centro de masa (CMV). La muestra de la investigación estuvo conformada por doce marchadores, quienes fueron divididos en dos grupos (un grupo de control y un grupo experimental, con seis en cada grupo). Los STSP se midieron con una cámara Sony a 50 fotogramas/seg para analizar 25 muestras de cada marchador de 10.000 metros. LLMA se midió mediante un electromiograma. Además, aplicamos la prueba de 10.000 m para medir el RT. La audición rítmica se utilizó para regular el ritmo del paso en siete ejercicios especiales y la parte central del entrenamiento. El ritmo de los pasos se dividió en tres niveles: el primer ritmo auditivo lento, el segundo ritmo auditivo cómodo y el tercero ritmo auditivo rápido. De nuestros hallazgos existe una diferencia significativa en el post-test para SC, CMV, LLMA y RT, a favor del grupo experimental, donde P.04 < .05, η2 = .732 para SC, P.038 < .05, η2 = .485 para CMV, P.015 < .05, η2 = .333 para LLMA y P.044 < .05, η2 = .483 para RT. Sin embargo, no hay diferencia significativa en el post test para SL, donde P.264 > .05. Además, hay una mejora significativa entre los grupos a favor del grupo experimental: ROC = 1.62, 5.76, 7.48, 33.9 y 7.03 % para SL, SC, CMV, LLMA y RT respectivamente. Las comparaciones mostraron que el post-test logró una mayor mejora con un efecto significativo en STSP, LLMA y RT en comparación con el pre-test que logró un efecto pequeño. Por lo tanto, la audición rítmica en el entrenamiento tiene un papel útil en la mejora de los parámetros de paso espacio-temporales, la actividad muscular de las extremidades inferiores y los registros de la marcha.
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Valdez Genit, José Ignacio. "El vínculo entre gentrificaión urbana y artistas: la autenticidad, diferenciación y disposición estética como protagonistas del proceso = The relation between gentrification and artists: authenticity, differentiation and aesthetic disposition as the process leaders." Territorios en formación, no. 16 (December 29, 2019): 69. http://dx.doi.org/10.20868/tf.2019.16.4228.
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ResumenLa gentrificación de barrios en diversas ciudades del mundo se ve influenciado por la presencia de artistas como agentes de cambio. Ya sea en los casos de Nueva York, Rotterdam o Santiago de Chile, este grupo actúa como pionero al asentarse en barrios identificados con cualidades determinadas que los hace particularmente atractivos: entre ellas la autenticidad como una de las más importantes. Sin embargo, la disposición estética de los artistas que reconfigura el significado de los objetos por su aspecto formal y descontextualización, volviéndolos en objetos artísticos; también es capaz de hacerlo con los barrios en donde se implantan. De esta manera, el colectivo cambia poco a poco el carácter y significado de los barrios convirtiéndolos en objetos de referencia para todo aquel que busque un medio de diferenciación en la sociedad. Así, los barrios colonizados por artistas son mercantilizados por su valorización social y económica como consecuencia de su propia cultura y autenticidad, lo que conlleva a su gentrificación.AbstractThe gentrification of neighborhoods around the globe cities has been strongly influenced by the presence of artists as agents. In cases such as New York, Rotterdam or Santiago de Chile, the group act as pioneers of the process by their settlement in specific neighborhoods with specific characteristics, being the authenticity one of the most important. Nevertheless, their aesthetic disposition that changes the meaning of objects by the emphasis in the formal aspect and decontextualization, becoming pieces of art; is also capable of changing the neighborhoods. This way, the group changes the character of the place they settle, becoming a reference object for anyone who seeks differentiation. As a result, neighborhoods colonized by artists, are commodificated by their social and economic value as a consequence of their own authenticity and culture that lead, finally, to a gentrification process.
Dissertations / Theses on the topic "Grupo El Paso (Artists' group)"
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Cass, Jeremy Leeds. "FASHIONING AFROCUBA: FERNANDO ORTIZ AND THE ADVENT OF AFROCUBAN STUDIES, 1906-1957." Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukyhpst2004d00216/cassdissertation.pdf.
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Thesis (Ph. D.)--University of Kentucky, 2004.Title from document title page (viewed Jan. 7, 2005). Document formatted into pages; contains v, 253 p. Includes abstract and vita. Includes bibliographical references (p. 236-250).
Books on the topic "Grupo El Paso (Artists' group)"
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Paula, Nascimento Ana, and Centro Universitário Maria Antonia, eds. Grupo Ruptura. São Paulo, SP: Cosac & Naify, 2002.
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Gutiérrez Baños, Fernando, editor of compilation and Gutiérrez Baños Fernando, eds. Grupo Simancas: Paisaje, color, expresión. Valladolid: Fundación Villalar-Castilla y León, 2011.
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Saura, Fundación Antonio. Antes de El Paso en El Paso y después de El Paso. Cuenca: Editorial Alderabán, 2018.
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Cirlot, Lourdes. El grupo "Dau al Set". Madrid: Cátedra, 1986.
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Torío, Ramón. Retrato de familia: Autobiografía del Grupo Simancas. Valladolid: Diputación de Valladolid, 2010.
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Museo de Arte Moderno (Mexico), ed. No Grupo: Un zangoloteo al corsé artístico. [Mexico City]: Museo de Arte Moderno, 2011.
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Torres, Ana. Imágenes en colectivo: Grupo Suma (1976-1982). Ciudad de México: Universidad Iberoamericana, 2020.
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Oropesa, Marisa, and Fernando Castro Flores. El Paso: La descomposición de las formas. Santa Cruz de Tenerife]: CajaCanarias, Obra Social y Cultural, 2007.
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Universidad Nacional de La Plata. Centro de Arte, ed. Grupo Escombros: Estética de la solidaridad. La Plata: Centro de Arte, UNLP, 2020.
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Escobar, Jaime Esaín. Grupo "Pórtico": 50.p0s aniversario. Zaragoza: Editorial Aqua, 2004.
Find full textBook chapters on the topic "Grupo El Paso (Artists' group)"
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Paranhos, Kátia Rodrigues. "Companhia Teatro Moderno de Lisboa (TML): engagement, resistance and cultural creation in the 1960s." In DEVELOPMENT AND ITS APPLICATIONS IN SCIENTIFIC KNOWLEDGE. Seven Editora, 2023. http://dx.doi.org/10.56238/devopinterscie-081.
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Social theatre and politically engaged theatre are two designations that gained acceptance amid a lively debate that went on throughout the late 19th century and consolidated in the 20th century. Its turning point lay in the structure of the relations between theatre and politics or even between theatre and propaganda. This text addresses what resistance and political-cultural protest meant to Grupo Teatro Moderno de Lisboa (TML), from Lisbon/Portugal, in the 1960s, based on the interviews and discourses about their collective creation processes, theoretical research, and social intervention. According to many interpreters, the Group broke with the theater establishment of 1960 and came out as one generation's great movement. It only lasted for 4 years, from 1961 to 1965. During this time, TML staged theatrical texts by Carlos Muniz, Dostoyevsky, Miguel Mihura, John Steinbeck, Luiz Francisco Rebello, William Shakespeare, and José Carlos Pires. These artists made up and remade different universes according to their purposes and wishes. By reading the above authors' texts in the 1960s, these Portuguese artists gave new meanings to the present and to the past itself – recalling here Brecht's "past and present in one". The political and aesthetic issues in the plays were updated through debates between the theater group and the audience —quite a difficult task in a period when a political-cultural protest against the "Estado Novo" dictatorship was increasingly strong and constant, and in which official censorship, always vigilant against heterodox artistic manifestations, was stifling. Being active in the politically engaged theater then meant looking for different staging places and other points of view on the years of lead. Utilizing its actions, it is a ground principle, and its practices, TML would sow the seeds of the independent theatre group movement, having taken the first steps in the pathway toward an intervention theater that, later on, these groups took upon themselves to continue with. Despite adversities, theatrical experiments that go against the grain of prevailing thoughts are still tenaciously current on the agenda. Doing theater amid commercial pressure is, undoubtedly, a form of provocation, of insubordination to the "hit parade" market, to which Comuna – Teatro Pesquisa, Teatro da Cornucópia, O Bando, Casa da Comédia, A Barraca, the Évora Culture Center and SeivaTrupestill resort.
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Quevedo, Marysol. "Neoclassicism Meets 1940s Pan Americanism." In Cuban Music Counterpoints, 27—C1F10. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197552230.003.0002.
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Abstract This chapter explores the activities of the Grupo de Renovación Musical (GRM) during the 1940s by laying out the political and economic contexts of 1940s Pan Americanism. It delves into the group’s aesthetic preoccupations and their efforts to reconcile neoclassical approaches with nationalist aesthetics, and their activities within the GRM as a process of maturation. A brief examination of La música en Cuba, the first book to present a chronological history of Cuban music written in 1946 by Alejo Carpentier, follows. This chapter includes musical analysis of two works, Argeliers León’s Sonatas a la Virgen del Cobre and Harold Gramatges’s Sernata, as prime examples of the group’s compositional output. During the 1940s group members shaped the Cuban classical music scene by cultivating a series of overlapping networks that allowed them to gain access to and control of resources through which they promoted their artistic agendas. Little by little they accrued the cultural capital that would make them the leaders of the Cuban music scene through the 1950s and into the first decades after the 1959 Revolution. This network consisted of local musicians; international composers and performers; other local artists that included painters, sculptors, dancers, poets, novelists, and film makers; and government institutions and the individuals who led them. It was in this decade, the 1940s, that the paths chosen, alliances forged, and aesthetic preferences explored and cemented would determine the future of the Cuban classical music composition tradition, a tradition that bears their legacy to this day.