Добірка наукової літератури з теми "Collective productive heritages"
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Статті в журналах з теми "Collective productive heritages":
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Bačun, Nina. "Architectural cinematic spaces as counter-archive of collective memory." SAJ - Serbian Architectural Journal 15, no. 3 (2023): 288–313. http://dx.doi.org/10.5937/saj2303288b.
Анотація:
As human life is rapidly unfolding within digital realms, it has become urgent to (re)evaluate the meaning of the intangible heritage of our digital environments by looking closely into Hito Steyerl's re-readings of Walter Benjamin with the recognition of the 'image as object,' not merely as representation. The idea of activating an object could be a starting point, or a productive force, in the new approach towards an architectural digital heritage, advancing the transformation of our everyday reality with new readings of architectural spaces. Even though film has been recognised as a form of heritage, it is less present in the case of architectural heritage. This article questions what is the afterlife of 'cinematic spaces' as an affective memory of the moving image since they are neither neutral nor passive, as film is a form of expression and a product of collective memory. At the same time, it emphasises the necessity of (re)questioning the 'fluid' borders of the 'uncertain and complex' past, the 'acute and unstable' present and the 'desired or possible' future within cinematic spaces by rethinking the practice of archiving 'cinematic architecture' and expanding it into the digital realm.
2
Xiao, Zhang, and Yang Deling. "The “Hyper-Presence” of Cultural Heritage in Shaping Collective Memory." PRESENCE: Virtual and Augmented Reality 27, no. 1 (March 2019): 107–35. http://dx.doi.org/10.1162/pres_a_00321.
Анотація:
Virtual reality (VR) uses sensorial mimetics to construct collective memory in virtual space. The regeneration of high-definition cultural heritage symbols transforms memory into an immediate experience that is constantly being renewed, strengthens the relationship between cultural heritage and contemporary society, and continually affects the persistent renewal of cultural traditions. Hyper-presence is a networked state of cognitive psychology that lies in links, interactions, and exchanges; it is the result of networked social minds and distributed cognition. In the contemporary moment, cultural heritage takes on three types of progressively developed presence: simulated restoration presence, informationally reproduced presence, and symbolically regenerated presence. Symbolic regeneration belongs to the realm of hyper-presence. Building databases with data collected on cultural heritage is the foundation of building a cognitive agent. As a platform, VR becomes an efficient mode of information dissemination, forming an independent presence for cultural heritage through the reproduction of media and information. In a network society, informatized cultural heritage becomes a source for the production of new cultural symbols, and presence is created through the continuous regeneration and dissemination of symbols. Symbols and regenerated symbols combine to constitute the hyper-presence of informatized cultural heritage; people's understanding of cultural heritage therefore exists in an ever-changing state. Intelligences with presence on the network form a complete system, and VR creates comprehensive cognition for the system through high-definition virtuality. Formed in the coordination between intelligences, collective memory creates its hyper-presence today.
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Dewi, Fajrina Cahya. "DEWARUCI BOARD GAME DESIGN AS A WAYANG INTRODUCTION MEDIA FOR CHILDREN 10-12 YEARS OLD." Arty: Jurnal Seni Rupa 9, no. 2 (August 18, 2020): 90–102. http://dx.doi.org/10.15294/arty.v9i2.40296.
Анотація:
Wayang is one of the artistic heritages that contains various good teachings in life. But now, there are many young generation forgets about wayang, and don't even know it. Watching Wayang Shows all night long is hard for children, that's why an alternative media are made in the form of games that can be played by children to introduce Wayang characters..The process of working in designing board games includes: (1) Pre-Production, including data collection, goal setting, concept determination, (2) Production, including content design, sketching, digitization, layouting, and printing (3) Post Production. This study project has produced a dummy board game theme about Dewaruci, where in the game, the theme of characters and stories of Dewaruci can be introduced to children. The work of the study project is expected to help children to get to know the noble artistic heritage. In addition, this work can be a motivation and inspiration for other creators who create works with archipelago content.
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Reidla, Jana, Ene Kõresaar, and Kirsti Jõesalu. "Etnograafiapärandi määratlemisest ja kogumisest Eesti muuseumides." Eesti Rahva Muuseumi aastaraamat 64, no. 2 (July 17, 2023): 295–324. http://dx.doi.org/10.33302/ermar-2023-009.
Анотація:
This article examines how Estonian museums understand ethnographic heritage. More specifically, it is an attempt to answer the questions of how the concept of ethnographic heritage is made visible through museums’ various practices. An analysis of what criteria museums use when assigning objects to ethnographic collections is submitted as well as a description of what dilemmas they face when making a choice, and how these dilemmas are resolved in practice. It was demonstrated that assigning objects to ethnographic collections has been and continues to be a cognitive and subjective activity. What has served as the main ethnographic criteria is the object’s social origin (a farm environment, which is contrasted with the urban and manor milieu) and the method of production — manual production and the use of traditional work methods, which is contrasted with factory production and store-bought goods. Museums that focus on the way of life of an ethnic or social group rely on their own set of defining principles, as do those whose permanent in situ exposition dictates the ethnographic content in a more classical sense (farm and open-air museums). At the same time, the simultaneous use of disparate criteria has led to different results in practice. The effort to define ethnographic heritage as dating from the first quarter or first half of the 20th century has resulted in a "special treatment" of newer hand-made objects in museums with ethnographic collections. This mainly affects the placement of contemporary textile handicrafts in an ethnographic collection. Faced with the build-up of problematic choices, some museums have "frozen" their ethnographic collections, while others have adopted a dual attitude to previously set temporal and other criteria of ethnographicity. When assembling and organizing collections, museums are looking for ways to bypass the narrow boundaries previously set for ethnographic heritage and are attempting to view everyday culture as a whole. One such practice is the formation of a separate textile collection. Thus, ethnographic heritage (ethnographic object) is a changeable construction not only from the perspective of modern ethnological science, but also from the perspective of museum practice. Explicit collecting principles have an impact on the museums’ collection practices, or more generally, what kind of heritage is being created for the future. At the same time, less formal trends, such as the difficulty of collecting objects from recent history, or the special importance of stories in assessing the value of an object, or the lack of specialists working with collections and poor storage conditions are all important factors in the creation of future heritage. The subject of auxiliary collections and replicas is also of much greater significance in the practice of museum work than it appears from the formulated collection policy.
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Cavicchioli, Marina Regis. "Wine: a cultural world heritage." Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 3, no. 1 (March 24, 2018): 523–37. http://dx.doi.org/10.31669/herodoto.v3i1.366.
Анотація:
The processes of cultural identification make us choose what we want as memory, what we identity with in the past, and what we want to preserve. This is how we select our cultural heritage projects: as collective identity projects. The last three decades have been marked by a growing debate around the question of valuating the various types of cultural heritage. In this context, wine is considered as a world heritage phenomenon—through the vineyards and the landscape its production creates, the architecture and monuments linked to it, and its forms of production and consumption, through UNESCO's protection.
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W. Ehrentraut, Adolf. "Maya Ruins, Cultural Tourism and the Contested Symbolism of Collective Identities." Culture 16, no. 1 (November 30, 2021): 15–32. http://dx.doi.org/10.7202/1084101ar.
Анотація:
The more accessible archaeological sites of the ancient Maya have become cultural attractions for international mass tourism. Their development is a function of occupational and economic factors that construct an unrepresentative image of Maya civilization as a modem cultural production. While this image is part of the official heritage of modern nation states, the interaction of mass tourism and cultural resource management is creating a supranational structural framework conducive to the development of Maya ethnonationalism.
7
Bonacchi, Chiara. "Heritage transformations." Big Data & Society 8, no. 2 (July 2021): 205395172110343. http://dx.doi.org/10.1177/20539517211034302.
Анотація:
This special theme examines the dynamic relationships between production, availability, and usage of Big Data, laying out a research agenda for digital heritage at the time of the ‘data turn’. Over the past 15 years, a proliferation of heritage data has been generated by ‘ecosystems of distributed practices’ enacted by the co-working of bodies, cultural identities, organisational workflows, software, application programming interfaces, etc. The authors of research articles and commentaries in this collection explore the three macro-dimensions along which we can map transformations of and by heritage in Big Data ecologies: (a) ontologies or heritage as datified resources, (b) interactions and (c) methodologies and epistemologies.
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Silva, Luiz Felipe da, Fernanda Esteves Leirião, Yeda Ruiz Maria, and Victor Martins de Aguiar. "RESQUÍCIOS HISTÓRICOS PRUDENTINOS: OBSERVAÇÃO E ANÁLISE DE UM CORREDOR HISTÓRICO EM POTENCIAL." Colloquium Socialis 6, no. 1 (January 12, 2023): 90–105. http://dx.doi.org/10.5747/cs.2022.v6.s155.
Анотація:
The heritage and its historical remnants are fundamental for the historical understanding of small or medium-sized cities, so that they are not lost or forgotten. The remembrance of the urban architecture has origins and particularities of the local society, adding values to the cultural, economy, development and feeding the local urban memory. The memories of the cities are formed from influences and experiences of its people, configured by individual and collective memories. However, the urbanization and industrialization process ends up remodeling the space, causing a failure in the preservation of the historical and cultural heritage of the municipalities, causing the loss and erasing of memories. In this context, this research aimed to analyze the historical remnants of Presidente Prudente - SP, from the observation of a potential historic corridor. The methodology adopted for the research consisted of bibliographic and documentary reviews, surveys and observations in loco, in addition to the production of a photographic collection for the analysis and observations regarding the object of study, the potential historic corridor of Presidente Prudente - SP, demonstrating the relevance of discussions about the historical and cultural heritage.
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Domenichini, Riccardo. "Architectural archives, a resource for knowledge and collective memory." Boletim do Arquivo da Universidade de Coimbra, extra 1 (March 1, 2023): 37–51. http://dx.doi.org/10.14195/2182-7974_extra2023_1_2.
Анотація:
It is difficult to fix coordinates to define architectural archives, related as they are to a discipline that has many declensions and often overlaps with others. Characterized by a multiplicity of types of documentation, from the point of view of production and organization they vary greatly in the range defined by the two poles of personal and corporate archives. Subjected to a strong evolutionary process, marked by the increasingly exclusive presence of digital technology, they constitute a field of continuous learning for archivists and researchers, with the aim of fully exploiting their information potential. Historical research, however, is only one of the fields in which architectural archives can play a primary role. Focusing on the human environment, built and natural, they are vital in the construction and development of collective memory, as much as in the management and protection of the works that make up the common heritage of citizens.
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Mindel, David. "Expanding the Scope of Digital Collection Development for Heritage Preservation: The case of the Odin Oyen collection." Archiving Conference 2020, no. 1 (April 7, 2020): 22–26. http://dx.doi.org/10.2352/issn.2168-3204.2020.1.0.22.
Анотація:
Access to collections is expanded through digitization, but are we saving the "best" volumes, which volumes are the best, and how do we make that decision? Capturing "real" collection data to objectively make and support those decisions is part of Library of Congress (LC) research. Current data suggests that most cultural heritage institutions have digitized less than 10% of their collections, so preservation of the print record is critical for long-term access to this knowledge. This is especially true for 19th and 20th century paper-based materials, where mass production methods resulted in less stable paper. Moving from subjective to objective based data for retention and withdrawal decisions is critical for the robustness of the print corpus and the future of digital collections.
Дисертації з теми "Collective productive heritages":
1
Houeto, Adébo Jean-Daniel. "Une analyse économique des conditions d’émergence des bioclusters. Le cas de la bioéconomie du chanvre industriel dans l’Aube." Electronic Thesis or Diss., Reims, 2023. http://www.theses.fr/2023REIME010.
Анотація:
Pour répondre aux défis du siècle, tels que le changement climatique, la sécurité alimentaire et l’épuisement des ressources naturelles, les institutions européennes ont placé, au cœur de leurs dispositifs de politiques publiques, le développement de la bioéconomie. Cette bioéconomie, considérée comme un modèle de développement capable de répondre à chacun de ces défis, tout en permettant la poursuite de la croissance, est déployée à l’échelle des États membres de l’Union, notamment par une incitation à la constitution de bioclusters. Si les bioclusters ont un rôle aussi crucial à jouer dans le déploiement de la bioéconomie, se pose alors la question de leurs conditions d’émergence. Comment apparaissent-ils et se structurent-ils sur un territoire ? Est-il possible de répliquer des modèles existants sur d’autres territoires ? La thèse se propose de répondre à ce questionnement, d’une part, par un travail théorique, consistant en un rapprochement de l’économie de la proximité et de l’économie patrimoniale et, d’autre part, par un travail empirique, analysant la structuration en cours de la bioéconomie du chanvre industriel dans l’Aube, autour du projet du « Pôle Européen de la bioraffinerie territoriale du Chanvre »To meet the challenges of the 21st century, such as climate change, food security and the depletion of natural resources, European institutions have placed the development of the bioeconomy at the heart of their public policies. This bioeconomy, seen as a development model capable of responding to each of these challenges while enabling continued growth, is being rolled out across the Union's member states, in particular by encouraging the creation of bioclusters. If bioclusters have such a crucial role to play in the deployment of the bioeconomy, the question arises as to the conditions of their emergence. How do they emerge and structure themselves in a given region? Is it possible to replicate existing models in other regions? The aim of this thesis is to answer these questions, on the one hand through theoretical work, bringing together the economy of proximity and the heritage economy, and on the other through empirical work, analyzing the current structuring of the industrial hemp bioeconomy in the Aube region, in particular around the "Pôle Européen de la bioraffinerie territoriale du Chanvre" project
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Befort, Nicolas. "Pour une mésoéconomie de l'émergence de la bioéconomie : représentations, patrimoines productifs collectifs et stratégies d'acteurs dans la régulation d'une chimie doublement verte." Thesis, Reims, 2016. http://www.theses.fr/2016REIME001/document.
Анотація:
Cette thèse analyse, à partir d’une démarche mésoéconomique régulationniste et évolutionniste, l’émergence d’un espace économique. Les acteurs l’ont baptisé « bioéconomie », à partir d’interprétations divergentes du terme. Cet espace se différencie des façons traditionnelles de se représenter la division du travail en secteurs (la chimie, l’agriculture, l’énergie). Les acteurs qui cherchent à constituer cet espace les recomposent dans un champ original et spécifique. Ce champ est fondé sur l’usage de ressources renouvelables végétales, animales et algales. Les acteurs constituant le champ se proposent d’être une « industrie des industries ». Ils fourniraient, non pas des produits finaux, mais des produits intermédiaires, agro-alimentaires ou destinés à la chimie, aux matériaux et à l’énergie. Ce champ ne comprend pas par exemple le photovoltaïque. La bioéconomie recompose les relations entre agriculture et chimie, en (re)faisant de la première un fournisseur de la seconde. Nous mobilisons la notion de régimes de production de connaissances et d’activités économiques pour décrire la diversité des promesses technologiques faites par les acteurs. Nous montrons alors que la bioéconomie ne peut se réduire à la « révolution biotechnologique ». Trois grandes visions de la bioéconomie se confrontent. A un niveau plus fin, on présente trois cas de cette diversité. Les acteurs portent une « économie des promesses » à partir de leurs patrimoines productifs collectifs respectifs qu’ils cherchent à reproduire et projeter dans le futur. Cela donne lieu, de leur part, à un travail de problématisation de l’espace de la bioéconomie, qui détermine leur allocation de ressourcesThis thesis analyses the emergence of a new economic space from a mesoeconomic regulationist and evolutionist approach. This space has been called "bioeconomy" by the actors after divergent and conflictual interpretations of this concept. This economic space differs from the traditional ways of representing the division of labour into sectors (chemistry, agriculture, energy). The actors involved in seeking to define this space are reconstructing these sectors into an original and specific field, which is built on the use of biobased plant, animal and algal renewable resources. These actors consider themselves to be becoming the "industry of industries". Thus, instead of providing end products, they produce intermediates for agro- or chemical industries, materials or energy. The field does not cover photovoltaic electricity. Therefore, bioeconomy is a recomposition of the relationships between agriculture and chemistry in which the former becomes the supplier for the latter. We use the concept of the regimes of production of knowledge and of economic activity to describe the diversity of the technological promises made by the actors involved. We show, therefore, that bioeconomy cannot be reduced to the biotechnological revolution. Three broad views of bioeconomy emerge. At a deeper level, we present here three case studies to illustrate this diversity. The actors are weighed down by an "economy of promises" based on their own productive heritages that they are trying to reproduce and project into the future. This leads them to problematize the bioeconomy space in order to determine their resource allocations
3
Webb, Brittany. "Materializing Blackness: The Politics and Production of African Diasporic Heritage." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/504409.
Анотація:
AnthropologyPh.D.
"Materializing Blackness: The Politics and Production of African Diasporic Heritage” examines how intellectual and civic histories collide with the larger trends in the arts and culture sector and the local political economy to produce exhibitions at the African American Museum in Philadelphia (AAMP) and structure the work that museum exhibitions do to produce race visually for various audiences. Black museums are engaged in the social construction of race through their exhibitions and programs: selecting historical facts, objects and practices, and designating them as heritage for and to their audiences. In tracking this work, I am interested in 1) the assemblages of exhibits that are produced, as a function of 2) the internal logics of the producing institutions and 3) larger forces that structure the field as a whole. Looking at exhibits that engage Blackness, I examine how heritage institutions use art and artifacts to visually produce race, how their audiences consume it, and how the industry itself is produced as a viable consumptive market. Undergirded by the ways anthropologists of race and ethnicity have been explored and historicized race as a social construction I focus on an instantiation of the ways race is constructed in real time in the museum. This project engages deeply with inquiries about the social construction of race and Blackness, such as: how is Blackness rendered coherent by the art and artifacts in exhibitions? How are these visual displays of race a function of the museums that produce them and political economy of the field of arts and culture? Attending to the visual, intellectual, and political economic histories of networks of exhibiting institutions and based on ethnographic fieldwork in and on museums and other exhibiting institutions, this dissertation contextualizes and traces the production and circulation of the art and artifacts that produce the exhibitions and the museum itself as a way to provide a contemporary concrete answer. Overall “Materializing Blackness” makes the case for history and political economy as ghosts of production that have an outsized impact on what we see on exhibition walls, and are as important to the visual work as a result. Further it takes the Black museum as a site of anthropological engagement as a way to see the conjuncture of the aesthetic and the political, the historical and the material in one complicated node of institution building and racecraft in the neoliberal city.
Temple University--Theses
4
Abdul, Bagi Samia. "WRITTEN DISCOURSE PRODUCTION OF BILINGUAL LEARNERS OF SPANISH: A COMPARISON BETWEEN HERITAGE AND NON-HERITAGE SPEAKERS AS A LOOK TO THE FUTURE OF HERITAGE LANGUAGE TEACHING." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/178013.
Анотація:
SpanishPh.D.
With the purpose of understanding plausible reasons as to why Hispanics learners of Spanish, or heritage language learners (HLL), tend to obtain lower grades than their non-Hispanic counterparts (L2) in the same courses, forty-four students of Spanish (17 HLLs and 27 L2s) provided written production once a week for a period of six weeks. The data collected was analyzed in terms of error frequency in two main areas: orthography and morphology. The hypothesis proposed was that HLLs would have poorer orthographic performance than L2s given the informal aural input they have received at home before learning the language formally in an academic setting. Conversely, given the more complex nature of language morphology, which is believed to be acquired through long periods of time, HLLs, regardless of the informal context in their Spanish learning should show a more mature set of morphological constructions. Within the HL group, I looked at the correspondence between the orthographic and morphological performance of HLLs to the generation to which they belong. Although, the correspondence was not in the direction expected, there seems to be a correspondence in the opposite direction. The further away from the first generation the better orthographic and written performance HLs showed. One third generation HLL had fewer errors than first generation speakers. This tendency suggests that the term "heritage" has a referential value that goes beyond the linguistic realm. When comparing the written performance of the two groups, results did not show radical differences: orthographically L2s had fewer errors by 7% and morphologically HLLs had fewer errors by 14%. These results, however, to suggest that there is a difference in the Spanish competence of the two populations of learners that imply their learning of Spanish involve different needs, which should be considered for Spanish course design and curricula. The goals of this research is to point out that the teaching of Spanish as an HL should not be viewed as the teaching of Spanish as an L2.
Temple University--Theses
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Kverndokk, Kyrre. "Pilegrim, turist og elev : Norske skoleturer til døds- og konsentrasjonsleirer." Doctoral thesis, Linköpings universitet, Tema Kultur och samhälle – Tema Q, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-10034.
Анотація:
This dissertation is about Norwegian school journeys to former death and concentration camps in Poland and Germany. The thesis follows a 10th grade class from the preparations for such a journey, on the journey itself and finally during the reflective work of the pupils upon returning to school. The journey is viewed as a memory process and the thesis discusses how the collective memory of Holocaust is constituted and how the Holocaust memory is staged and performed by the pupils. This kind of travel praxis balances among the inner processes of acknowledgement connected to the pilgrimage, the hedonism of tourism and the school journey’s play with the limits of the teacher’s tolerance. How the pupils handle the tension among these three forms of travelling genres is ritually scripted. Also, the way the pupils express their impressions of the journey is strictly ritually scripted. The journey is thus a monological organised memory praxis which makes it difficult for the pupils to express themselves in ways other than the scripted ones.Denne avhandlingen handler om norske skoleturer til tidligere døds- og konsentrasjonsleirer i Polen og Tyskland. Avhandlingen følger en tiendeklasse fra Oslo gjennom forberedelsene til reisen, underveis på turen og i bearbeidelsen av inntrykkene etter at elevene har kommet hjem. Reisene studeres i et erindringsperspektiv med fokus på hvordan erindringen om annen verdenskrigs konsentrasjonsleirsystem konstitueres, fortelles og iscenesettes. Konkret undersøker avhandlingen hvordan konsentrasjonsleirene og Holocaust presenteres for elevene, hvordan elevene selv italesetter sin fortidsfortolkning og hvordan holocausterindring iscenesettes gjennom en slik reise. Denne formen for reisepraksis balanserer mellom pilegrimsreisens indre erkjennelsesprosess, turistreisens hedonisme og skoleturens lek med grensene for lærerens toleranse. Hvordan elevene skal manøvrere seg innenfor spenningsfeltet mellom disse tre formene for reisegenre er i stor grad styrt av et rituelt script. Det samme kan sies om elevenes ytringsmuligheter i etterkant av turen. Reisen kan derfor sies å være en form for monologisk organisert erindringspraksis som gir elevene få muligheter til å uttrykke seg på andre måter enn de rituelt foreskrevne.
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Roda, Jessica. "Vivre la musique judéo-espagnole en France : de la collecte à la patrimonialisation, l’artiste et la communauté." Thèse, Paris 4, 2012. http://hdl.handle.net/1866/9170.
Анотація:
Doctorat réalisé en cotutelle avec l'Université Paris Sorbonne. La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).La question centrale de cette recherche s’inscrit dans la foulée des problématiques autour de la patrimonialisation, de la performance et de la mise en scène des pratiques musicales. Elle vise plus précisément à comprendre comment et pourquoi les Judéo-espagnols de France, installés depuis le début du XXe siècle, utilisent les pratiques singulières des musiciens et chanteurs professionnels majoritairement externes à la communauté pour revendiquer leur patrimoine musical collectif et affirmer leur identité. La chercheuse replonge dans le passé afin de saisir comment le répertoire musical s’est construit et est devenu un objet quasiment exclusif au monde de l’art, alors qu’il reste associé aux répertoires dits « traditionnels ». En vue d’interroger la judéo-hispanité musicale et déterminer ce qui la caractérise au présent, une ethnographie multi-site auprès des artistes et de la communauté est proposée. Enfin, pour comprendre le sens des pratiques, différents espaces de performance sont examinés à partir de l’analyse des interactions entre les pôles de production et de réception, en cohérence avec le contexte général de la pratique et de l’ensemble des paramètres performanciels. La conclusion révèle notamment que la relation entre les artistes et la communauté génère un nouvel espace familial et intimiste et que chacun des espaces forme un système interrelationnel dont l’interaction permet de produire un équilibre qui consiste à faire vivre et à investir le patrimoine musical au présent. Par ce biais, c’est notamment la problématique des catégories musicales (musiques populaires, musiques traditionnelles, musiques de scène) reliées aux espaces de pratique qui est interrogée.
The central question of this research follows the problematic of patrimonialization (heritization), performance and mise en scene of musical practices. It aims, more precisely, to understand how and why Judeo-Spanish people settled in France since the early twentieth century, use individual practices of professional musicians and singers who are predominantly external to the community to reclaim their collective musical patrimony and affirm their identity. The researcher returns to the past in order to understand how this musical repertoire was constructed, and how it came to be almost exclusive to the art world, even though it is still associated to with the traditional music repertoire. Moreover, in order to question the Judeo-Spanish nature of the music and determine what presently characterizes it, a multi-site ethnography of the artists and the community is proposed. Finally, with a view to understanding the meaning of these practices today different spaces of performance are examined, especially the interaction between the poles of production and reception, in a general context, and through an examination of the parameters of its performance practice. One of the conclusions reveals that the constant relationship between the artist and the community generates a new kind of space for family and that each space constitutes an inter-relational system, thus constructing an interactive equilibrium, which keeps the musical patrimony alive. In this way, it is the problematic of musical categories (e.g. popular music, traditional music, staged music), related to spaces of practice, which is interrogated.
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Pianezza, Nolwenn. "La patrimonialisation selon l’immatériel ou la mémoire agissante : circulations des savoirs en contexte partenarial de production audiovisuelle." Thesis, Avignon, 2017. http://www.theses.fr/2017AVIG1183/document.
Анотація:
Cette thèse vise à explorer les enjeux et modalités de la patrimonialisation liées à la mémoire sociale, dans le contexte paradigmatique de l’immatériel qui de manière croissante mobilise des formes abouties de partenariat avec l’acteur social, en vue de conduire l’inventaire de son patrimoine. À partir de terrains français et brésiliens, cette recherche s’intéresse plus particulièrement au travail partenarial de documentation audiovisuelle du patrimoine qui intervient dans de tels dispositifs d’inventaire partagé, pour y saisir les transformations techniques, épistémologiques et symboliques à l’œuvre lors de la collecte de mémoire au sein du groupe social, de l’introduction du témoignage dans le processus de production des savoirs liés au patrimoine en devenir, et de sa mise en support grâce au média audiovisuel. Nous interrogeons ici le geste documentaire assumé par l’acteur social en qualité de chercheur indigène ainsi que le devenir médiatique de l’objet de patrimoine qu’il engage. C’est toute la question de la circulation, et à travers celle-ci de la fixation et de la transmission des savoirs qui se dessine ici, à partir d’une réflexion sur les usages sociaux des dispositifs patrimoniaux contemporains. Ce travail s’attache ainsi d’une part à décrire les modalités du travail de mémoire réalisé dans de tels dispositifs. Il met ici au jour le parcours de l’acteur social lors d’un tel exercice mémoriel ainsi que le traitement singulier de l’objet patrimonial et de sa mise en savoir. La recherche s’intéresse alors plus précisément aux processus d’appropriation et de réflexivité qu’entraîne la pratique partenariale de la documentation audiovisuelle du patrimoine. À partir de telles modalités, la thèse réfléchit d’autre part au régime de patrimonialisation singulier en jeu, tel qu’il s’organise autour de la fabrique continue et partagée d’une mémoire sociale du groupe, dont nous repérons la valeur médiatrice au sein du groupe social. La recherche montre enfin combien les dispositifs patrimoniaux contemporains contournent la fixation des savoirs et orchestrent leur transmission recréatrice, selon l’idée proposée d’une mémoire agissanteThis thesis aims to explore the heritage-making processes in community-based participatory work forming social memory in Brazil’s guarani communities and France. Inspired by the intangible heritage paradigm, experts and institutions increasingly act in close partnership with the social actor in conducting cultural heritage inventories for formalizing the protection, promotion and revitalization of traditional practices through knowledge production. The so-called holders of memory then become “indigenous researchers” in audiovisual documentation processes that orchestrate such inventories. Drawing on interviews, document and discourse analysis, this thesis seeks to shed light on the technical, epistemological, and symbolic shift at play in the construction of memory in such a partnership framework. This work interrogates the documentary gesture posed by the partnering social actor and the future mediatic status it for the heritage-in-making object hereby documented. In this perspective, the thesis engages with the question of traditional knowledge circulation, fixation, and transmission within a given social group, in the specific time and space-frame of the heritage inventory projects. This work considers theoretical issues at stake within the intangible paradigm, revealing the heritage paradox that exist between the knowledge stabilization effort and the living, and the metamorphic essence of cultural practices. This aporia is examined herein through the lens of the documentation projects conducted, in an attempt to identify their stance and strategies towards it. By deciphering the operational framework of the partnering video inventories, his thesis reveals existing social strategies used to discard ontological resistance of culture to becoming heritage : audiovisual documentation of personal testimonies here appears as a tool to record heritage in a flexible, non-binding media sustaining the ongoing cycle of meaning being susceptible to change and reinterpretation. In the videos, heritage is not dissected and precisely described as one could expect. Rather, it is discussed through non-descriptive content, with open questions and pointers only alluding and constantly challenging its meaning. By eluding content stabilization, knowledge production relies on a complex system of change and continuity, allowing only frames of meaning to be passed on, within which each participant can recreate meaning for himself. The thesis also highlights the reflexive and communicational competence building process associated with the social actor participating in the project, showing how such experiences follow a path of heritage appropriation, culminating in a renewed desire to cultivate one’s heritage. Third, the thesis attempts to theorize the heritage-making model studied here to elucidate the interplay of heritage and memory in the intangible paradigm. Memory is here seen as an unfolding experience, a work of engagement and cultural recreation mobilized by the heritage-making process to activate a dynamic knowledge transmission pattern within the very life of its projects
AO objetivo desta tese é explorar os desafios e as modalidades da patrimonialização ligados àmemória social, no contexto paradigmático do imaterial que, de forma crescente, mobiliza formas acabadas de parceria com os atores sociais, visando gerir o inventário de seu patrimônio.A partir das realidades francesa e brasileira, esta pesquisa discute particularmente oprotagonismo no trabalho de documentação audiovisual do patrimônio que interfere nos dispositivos do inventário compartilhado. Busca assim entender as transformações técnicas,epistemológicas e simbólicas que ocorrem durante o registro da memória ao interior do gruposocial, com a introdução do depoimento no processo de produção de saberes ligados ao patrimônio que se constitui e de sua disponibilização através dos meios audiovisuais. Indagamos aqui sobre a prática de documentação assumida pelo ator social na qualidade depesquisador indígena, assim como sobre as consequências midiáticas do objeto de patrimônio por ele incorporado. Trata-se da questão de circulação e, através dela, da fixação e datransmissão de saberes que aqui se configura, a partir de uma reflexão sobre os usos sociais dosdispositivos patrimoniais contemporâneos. Este trabalho se propõe assim a descrever as modalidades da produção de memória realizadacom tais dispositivos: ele atualiza aqui o percurso do ator social durante sua trajetória, assim como o tratamento singular dispensado ao objeto patrimonial e à organização dos saberes. Apesquisa focaliza, então, mais precisamente, os processos de apropriação e de reflexividadeprovocados pela prática de curadoria compartilhada na documentação audiovisual dopatrimônio. Desta forma a tese aborda o regime de patrimonialização singular aqui descrito, talcomo ele se organiza em torno da produção contínua e compartilhada de uma memória social do grupo, cujo valor mediador nós destacamos. Finalmente, a pesquisa mostra como os dispositivos patrimoniais contemporâneos confrontam a fixação dos saberes e orquestram sua transmissão recriadora, segundo a ideia proposta de uma memória ativa.a
Книги з теми "Collective productive heritages":
1
Alves, Alan Ripoll, Diomar Augusto de Quadros, Luciana Vieira Castilho Weinert, Luiz Everson da Silva, and Marisete Teresinha Hoffmann Horochovski. Litoral do Paraná: Território e perspectivas - Volume 5: Desenvolvimento, políticas públicas e saúde. Brazil Publishing, 2020. http://dx.doi.org/10.31012/978-65-5861-091-5.
Анотація:
The Coastal Collection of Paraná: territories and perspectives and especially in its fifth volume: DEVELOPMENT, PUBLIC POLICIES AND HEALTH is an initiative headed by the Postgraduate Program in Sustainable Territorial Development – PPGDTS at the Federal University of Paraná - UFPR. It is a collective effort among knowledge agents, that is, research teachers, students engaged in research, public agents and local community actors, and aims to add value to the production of knowledge about the regional reality, in a plot that expresses the activities of research, teaching and extension carried out in a synergic and cooperative manner along the coast of Paraná State. The volume consists of 16 chapters, organized in three parts: Development, territory and job, University, inclusion and Regional development, and Territory and health. It is the result of the efforts of a team of teachers and students already in the middle of consolidating their capacities as educators and researchers. The approaches presented result from a long and dense practice of reflections, interactive actions among academic and community agents, within an epistemic and methodological perspective, compatible with the current forms of cooperative production among several disciplines. It is an important and vigorous exercise of knowledge production, in line with a university project that reaffirms its vocation and mission focused on regional and local development, by valuing the rescue of knowledge and community practices, by encouraging and invitation to the dialogue of academic knowledge with the rich cultural heritage of coastal populations.
2
Gansell, Amy, and Ann Shafer, eds. Testing the Canon of Ancient Near Eastern Art and Archaeology. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190673161.001.0001.
Анотація:
This volume addresses and problematizes the formation and transformation of the ancient Near Eastern art historical and archaeological canon. The “canon” is defined as an established list of objects, monuments, buildings, and sites that are considered to be most representative of the ancient Near East. In “testing” this canon, this project takes stock of the current canon, its origins, endurance, and prospects. Boundaries and typologies are examined, technologies of canon production are investigated, and heritage perspectives on contemporary culture offer a key to the future. Ultimately, this enterprise seeks to provide a framework for a re-conceptualization of ancient Near Eastern history and culture that is meaningful to a broad audience today. This book offers a vital benchmark and a collective path forward for the study and appreciation of Near Eastern cultural heritage, and it aims to provide a model for similar inquiries across art historical and archaeological fields.
3
Lo, Dennis. The Authorship of Place. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528516.001.0001.
Анотація:
The Authorship of Place is the first monograph dedicated to the study of the politics, history, aesthetics, and practices of location shooting for Taiwanese, Mainland Chinese, and coproduced art cinemas shot in rural communities since the late 1970s. Lo argues that rural location shooting, beyond serving aesthetic and technical needs, constitutes practices of cultural survival in a region beset with disruptive social changes, including rapid urbanization, geopolitical shifts, and ecological crises. In response to these social changes, auteurs like Hou Xiaoxian, Jia Zhangke, Chen Kaige, and Li Xing transformed sites of film production into symbolically meaningful places of collective memories and aspirations. These production practices ultimately enabled auteurs to experiment with imagining communities in novel and contentious ways. Guiding readers on a cross-strait tour of prominent shooting locations for the New Chinese Cinemas, this book shows how auteurs sought out their disappearing cultural heritage by reenacting lived experiences of nation building, homecoming, and cultural salvage while shooting on-location. This was an especially daunting task when auteurs encountered the shooting locations as spaces of unresolved historical, social, and geopolitical contestations, tensions which were only intensified by the impact of filmmaking on rural communities. This book demonstrates how complex circumstances surrounding location shooting were pivotal in shaping representations of the rural on-screen, as well as the production communities, institutions, and industries off-screen. Bringing together cutting-edge perspectives in cultural geography and media anthropology, this work revises Chinese film history and theorizes ground-breaking approaches for investigating the cultural politics of film authorship and production.
4
Geoffroy-Schwinden, Rebecca Dowd. From Servant to Savant. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197511510.001.0001.
Анотація:
From Servant to Savant exposes the fundamental role that the French Revolution played in the emergence of modern professional musicianship and music historiography. Like other arts and trades in Old Regime Paris, music professionalized under a system regulated by legal permissions called privilèges. Musicians learned to work within the privilege system to elevate their legal and social status by the eve of Revolution. But the Revolution’s Abolition of Privilege on August 4, 1789, overthrew this feudal order and set in its place a modern property regime requiring strict delineation between public and private property. From Servant to Savant reveals the profound musical consequences of this reckoning. Before the Revolution, music was an activity that required permission, after, it was an object that could be possessed. Everyone seemingly hoped to gain something from owning music—musicians claimed it as their unalienable personal expression while the French nation sought to enhance imperial ambitions by appropriating it as the collective product of cultural heritage and national industry. Musicians capitalized on these changes to protect their professionalization within new laws and institutions yet excluded those without credentials from their elite echelon. As musicians and the government negotiated the place of music in a reimagined French society, new epistemic and professional practices constituted three lasting values of musical production: the composer’s sovereignty, the musical work’s inviolability, and the nation’s supremacy. From Servant to Savant thus demonstrates how the French Revolution set the stage for the emergence of so-called musical Romanticism and its legacies, which continue to haunt musical institutions and industries.
Частини книг з теми "Collective productive heritages":
1
Marttila, Sanna, and Andrea Botero. "Infrastructuring for Collective Heritage Knowledge Production." In Culture and Computing. Design Thinking and Cultural Computing, 95–112. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77431-8_6.
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Viola, Lorella. "The Importance of Being Digital." In The Humanities in the Digital: Beyond Critical Digital Humanities, 37–56. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16950-2_2.
Анотація:
AbstractIn this chapter, I present the post-authentic framework, a theoretical framework for knowledge creation in the digital, and I introduce two concepts central to the framework, symbiosis and mutualism. In light of the considerations reasoned in Chap. 1, I discuss and question the relevance of notions of authenticity and completeness in relation to digital objects. I take the example of a digital cultural heritage object to highlight how ideas of authenticity and completeness have consequences not only for the production of digital heritage and with respect to heritage values and practices but, more widely, for our understanding of digital objects and knowledge production in a digital society. Finally, I rework such notions using the formation of the digital heritage collection ChroniclItaly 3.0 as an example of how the post-authentic framework can guide the fluid interactions between human and technological processes that are required in the contemporary context of digital knowledge creation.
3
Tomiyoshi, Mitsuyuki. "Organizations and Functions for Seed Management in East Asia: Korea, Japan and Taiwan." In Seeds for Diversity and Inclusion, 107–19. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-89405-4_7.
Анотація:
AbstractHow important are informal seed-saving systems in conserving agrobiodiversity? Mitsuyuki Tomiyoshi probes that question in the East Asian context in this survey and analysis examining the prevalence of community seed banks and other non-profits in Japan, South Korea and Taiwan. In Japan, traditional varieties are generally cultivated on the basis of heritage and culture, and an array of non-profits are involved in seed provision, domestic production, collection and networking. In South Korea, where interest in heirloom seeds has been growing since the early 2000s, comparable organizations include a research firm, cooperative and civil society network. Relevant non-profits in Taiwan, meanwhile, are at the formative stage. Informal systems are key to maintaining agrobiodiversity, Tomiyoshi concludes, but to operate sustainably they must better integrate their functions and set strategies for collaboration with public institutions.
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Di Russo, Aldo, and Dorothea Papathanasiou-Zuhrt. "The UNESCO Experiential Digital Heritage Narrative in the Black Sea Basin." In Strategic Innovative Marketing and Tourism, 671–78. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51038-0_72.
Анотація:
AbstractNew communication patterns define market preferences, while the constant use of e-devices in daily life impacted the common sense through the interpretation of visual codes. It is necessary to determine the quintessential steps to define a strategic approach to the European audio-visual aarket and find new opportunities for research, application and creation of new iconic audiovisuals to design and deliver cognitive-emotional experiences for an inclusive and accessible cultural heritage. The digital revolution has altered the production of various industrial sectors, the audio-visual market including and the use of outdated languages and technologies results in the loss of the audience in the sector. Transferring domain specific expertise and know how into new technologies, is not only adding to the quality of contents and the tradition of the sector, but it is becoming a factor for further developments and progress. Supported by the EU funded project BSB/831/ HERiPRENEURSHIP “Establishing long-lasting partnerships to upgrade heritage-based offers and create new investment opportunities in tourism and the cultural and creative industries”, a novel cultural experience pattern is introduced for the 6 Unesco-listed properties in Greece, Romania, Bulgaria, Moldova, Georgia, and Türkiye in the form of a multimedia eBook collection. The design is articulated in two central moments: (a) the presentation of a methodology acquired from many years of research in new media languages and applied in a number of European case studies on the use of tangible or intangible cultural heritage as instruments of social cohesion; (b) from a practical point of view, this methodology is applied to stories, myths, traditions and history reconfigured for the construction of new stories for an unlimited global audience. This paper discusses the process to lead a multicultural and multigenerational audience towards quality experiences at places of cultural significance through an integrated word-image relationship in the digital environment.
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Herrero, Mario, Marta Hugas, Uma Lele, Aman Wirakartakusumah, and Maximo Torero. "A Shift to Healthy and Sustainable Consumption Patterns." In Science and Innovations for Food Systems Transformation, 59–85. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-15703-5_5.
Анотація:
AbstractThis chapter recognises that current food consumption patterns, often characterised by higher levels of food waste and a transition in diets towards higher energy, more resource-intensive foods, need to be transformed. Food systems in both developed and developing countries are changing rapidly. Increasingly characterised by a high degree of vertical integration, evolutions in food systems are being driven by new technologies that are changing production processes, distribution systems, marketing strategies, and the food products that people eat. These changes offer the opportunity for system-wide change in the way in which production interacts with the environment, giving greater attention to the ecosystem services offered by the food sector. However, developments in food systems also pose new challenges and controversies. Food system changes have responded to shifts in consumer preferences towards larger shares of more animal-sourced and processed foods in diets, raising concerns regarding the calorific and nutritional content of many food items. By increasing food availability, lowering prices and increasing quality standards, they have also induced greater food waste at the consumer end. In addition, the potential fast transmission of food-borne disease, antimicrobial resistance and food-related health risks throughout the food chain has increased, and the ecological footprint of the global food system continues to grow in terms of energy, resource use, and impact on climate change. The negative consequences of food systems from a nutritional, environmental and livelihood perspective are increasingly being recognised by consumers in some regions. With growing consumer awareness, driven by concerns about the environmental and health impacts of investments and current supply chain technologies and practices, as well as by a desire among new generations of city dwellers to reconnect with their rural heritage and use their own behaviour to drive positive change, opportunities exist to define and establish added-value products that are capable of internalising social or environmental delivery within their price. These forces can be used to fundamentally reshape food systems by stimulating coordinated government action in changing the regulatory environment that, in turn, incentivises improved private sector investment decisions. Achieving healthy diets from sustainable food systems is complex and requires a multi-pronged approach. Actions necessary include awareness-raising, behaviour change interventions in food environments, food education, strengthened urban-rural linkages, improved product design, investments in food system innovations, public-private partnerships, public procurement, and separate collection that enables alternative uses of food waste, all of which can contribute to this transition. Local and national policy-makers and small- and large-scale private sector actors have a key role in both responding to and shaping the market opportunities created by changing consumer demands.
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Harchi, Kaoutar, Jenny Money, Kathryn Kleppinger, and Laura Reeck. "Banlieue Writers: the Struggle for Literary Recognition Through Collective Mobilization." In Post-Migratory Cultures in Postcolonial France, 44–59. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941138.003.0003.
Анотація:
This chapter focuses on processes of social categorization used in the French literary field to define authors born in France to postcolonial immigrant parents. In 2007, the collective 'Qui fait la France?' released a volume of short stories called Chroniques d’une société annoncée, prefaced by its manifesto that was also released to the popular press. Composed of authors self-identifying as having 'mixed identities', the collective aimed through the publication of their manifesto and short stories to transform French literature through narrating and recognizing the unique histories, suffering, and aspirations of ethnically diverse populations. Meanwhile, its reception demonstrated how judgments of artistic value for cultural production by French artists of postcolonial immigrant heritage reveal problems tied to the conditions, modalities, and process of categorizing literary production. Through a sociological reconstruction of the formal and subjective meanings that each individual (artist, journalist, publisher, producer, etc.) ascribes to his/her actions, this chapter exposes the various logics through which artistic labelling based on social criteria establishes hierarchies and categories that structure the French literary field.
7
Kiddey, Rachael. "Conclusion." In Homeless Heritage. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746867.003.0014.
Анотація:
An archaeological approach to contemporary homelessness contributes to existing literature on the subject by materializing this familiar yet alien social status in a number of ways. Globally, homelessness continues to suffer from being conceptually constructed according to essentially British nineteenth-century ideologies that are class-based and heavily gendered, whilst, increasingly commonly, manifesting physically as a diverse and phenomenological experience. Approaching homelessness using participatory cultural heritage methodologies enabled those involved in the Homeless Heritage project to collectively destabilize some of the pernicious myths that surround homelessness, present alternative perspectives, and identify practical ways in which homeless people might be better helped to survive and recover. Positive outcomes from the Homeless Heritage project include the ways in which people involved experienced increased social connectedness and enhanced well-being. Homeless colleagues actively chose to (re)engage with existing social and public services with more robust commitment than had previously been the case, while reconnecting with family also emerged as a strong and important outcome from the Homeless Heritage project. There were theoretical implications too. Where archaeology may be considered an ‘intervention’—a methodology for engaging with the material world— heritage is the human context by which such engagement is made possible. Heritage, a mode of cultural production, has an important role to play in facilitating redemptive and cathartic conversations about difficult or distressing human experiences and could powerfully affect the course of social policies in the future. Conversations facilitated through Applied Heritage can produce more nuanced understanding, which could feasibly be used to improve and enhance social justice on local levels and promote tolerance, understanding, and peace on the wider international stage. The initial aim of the project was to see whether an archaeological cultural heritage approach to contemporary homelessness might contribute to wider understanding of the social condition. A significant outcome was a more nuanced understanding of homelessness in the twenty-first century. This helped to powerfully counter definitions and rationalizations of homelessness in terms of nineteenth-century constructions of vagrancy. A more surprising outcome concerns evidence that Applied Heritage can function as a powerful therapeutic form of social intervention. In approaching homelessness archaeologically, from the perspective of a range of individual agents, the Homeless Heritage project clearly showed why a homeless person might ‘choose’ to appropriate, for example, space beneath a willow tree or a bin cupboard over conditions in temporary accommodation deemed ‘suitable’ for statutorily homeless people.
8
Minks, Amanda. "Between the Ear and the Letter." In Indigenous Audibilities, 31–68. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197532485.003.0002.
Анотація:
Abstract Chapter 1 examines a collection of Indian and Pioneer oral histories in the state of Oklahoma, formerly Indian Territory, which is also a lens for exploring Southwest borderlands history. This collection was connected to the US Works Progress Administration, a key site for reconfiguring discourses of national and regional heritage in the 1930s. The chapter analyzes the representation of music, language, and dance in this oral history collection, as well as the differential functions of orality and aurality. The chapter argues that the constructedness of oral histories, their production through historical and cultural processes, should not invalidate them as sources. Rather, like all historical sources, oral histories are the product of multiple voices and political forces, some visible and audible, and others obscured in the archive. We need to listen and read beyond the referential function of this genre to place it in its own social-historical context and consider what it may reveal.
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Kerrow, Kate, Rebecca Mordan, Vanessa Pini, Jill (Ray) Raymond, Alison Bartlett, and Catherine Eschle. "Greenham Women Everywhere: A Feminist Experiment in Recreating Experience and Shaping Collective Memory." In Feminism and Protest Camps, 273–93. Policy Press, 2023. http://dx.doi.org/10.1332/policypress/9781529220162.003.0015.
Анотація:
In 2018, Cornish feminist production hub Scary Little Girls, in partnership with online women’s history publication, The Heroine Collective, launched an ambitious project to record testimonies of women who formed the Greenham Common Women’s Peace Camp between 1981 and 2000. The aim was to retrieve a history of radical feminist peace activism in danger of being lost from public memory and from British protest culture, and to bring this heritage to new audiences. The work thus involved not only recording interview testimonies, but also creative outreach – an online archive, maintained by a non-profit organisation; theatrical events and concerts; a multimedia exhibition and interactive virtual reality website; and a book. This chapter takes the form of a conversation between Rebecca Mordan from Scary Little Girls, Kate Kerrow from The Heroine Collective, Vanessa Pini from Greenham Women Everywhere, and Greenham woman Jill (Ray) Raymond, facilitated by Alison Bartlett and Catherine Eschle. The conversation explores the processes and ethics of interviewing and digs into the multimedia and collaging techniques through which the lived experiences of campers were recreated years after the event. Finally, we discuss the politics of forgetting and remembering Greenham Common Women’s Peace Camp, and its legacies.
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Moyer, Ian, Adam Lecznar, and Heidi Morse. "Introduction." In Classicisms in the Black Atlantic, 1–26. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198814122.003.0001.
Анотація:
This introductory chapter explores the key themes of Classicisms in the Black Atlantic, and introduces the structure of the work, the essays in question, and contemporary debates to which the collection is responding. Drawing on the work of Paul Gilroy, the authors argue that the essays in the volume demonstrate the productive results that issue from re-examining historical relationships between modern classicism and the construction of race and racial hierarchies, as well as the making and remaking of various forms of classicism by intellectuals, writers, and artists circulating in the diasporic world of the Black Atlantic. These explorations provide grounds for challenging racialized visions of the classics as a white European heritage that have re-emerged in contemporary politics, and for reimagining the role of classical humanism in anti-racist struggles.
Тези доповідей конференцій з теми "Collective productive heritages":
1
Kömürcü, Esranur, and Nuray Benli Yıldız. "Historic Building Information Modelling (HBIM)." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 6-8 May 2020. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021tr0072n25.
Анотація:
Cultural heritage conservation and restoration work is a complex process that includes documentation, data collection, interpretation and production. By integrating the BIM (Building Information Modeling) methodology into this process, the concept of HBIM (Historic Building Information Modeling) has been formed. In this article, the progress of this process with the HBIM methodology in the restoration, protection and management studies of cultural heritage buildings and sites requiring collective and holistic work, the evaluation of access to the information obtained, and the provision of interdisciplinary information exchange were analyzed. By using the SWOT analysis method, the opportunities and threats offered by using the HBIM working methodology were evaluated and the strengths and weaknesses of the HBIM technology were determined. As a result of the SWOT analysis, it has been determined that the HBIM application will positively contribute to the heritage structures and increase in the direction of potential opportunities by eliminating the weaknesses.
2
Saffira, Mega, and Kahfiati Kahdar. "Money Talks, Fashion Walks: A Textile Motif Exploration in Womenswear Using 1960s Rupiah Banknote." In 22th AUTEX World Textile Conference. Switzerland: Trans Tech Publications Ltd, 2024. http://dx.doi.org/10.4028/p-0d5xup.
Анотація:
This project-based research examined the explorations of the Soekarno-Irian Barat Rupiah banknotes' visual element as textile motifs, which were then produced into a womenswear collection using the digital printing technique. The topic was chosen based on the phenomenon among the society that often sees money only as a payment tool, while actually, it bears more meanings for a nation, including historical, cultural, and political messages, which makes it eligible to be also known as a cultural heritage product that deserves to be preserved. One alternative to preserving the visual elements of a cultural heritage product is through textile and fashion products application. The project started with literature studies and interviews; explorations of motifs, designs, materials, and also style studies; and was completed with fabric and garments production. The considerations behind the aforementioned aspects in the methodology were made through a design thinking framework with mixed-methodological approach which combines qualitative and quantitative data collection and analysis. The intended impact of this practice work is to create a new perspective towards banknotes as a case study for cultural heritage artefacts whose design elements can be preserved through product application in the creative industry, such as textile and fashion products.
3
XUE, FELIX. "THE APPLICATION AND VALUE OF MARXIST HISTORICAL METHODOLOGY IN THE STUDY OF INTANGIBLE CULTURAL HERITAGE—TAKING CHIBI GREEN BRICK TEA AS AN EXAMPLE." In 2023 9TH INTERNATIONAL SYMPOSIUM ON SOCIAL SCIENCE. Destech Publications, Inc., 2023. http://dx.doi.org/10.12783/dtssehs/isss2023/36049.
Анотація:
[Research Significance] The Marxist view of social and historical development believes that the world is not a static collection, but is composed of countless processes, and each thing has its own process of production, development and death.[1] Looking at intangible cultural heritage from the perspective of history, it can make our country's intangible cultural heritage integrate with modern life while maintaining historical traditions, and realize the development and extension of cultural essence, which has scientific guiding significance.[Research purposes] In the era of ever-changing history, many traditional cultures are facing the risk of disappearing and being lost, and also facing the challenges of living inheritance and innovative development. Therefore, using the Marxist historical methodology to protect and inherit intangible cultural heritage is a good entry point between ideological and political education and intangible cultural heritage culture.[Research methods] The article uses research methods such as literature research method, social practice investigation method and interdisciplinary research method to explore the application of Marxist historical methodology in intangible cultural heritage research.[Analysis conclusion] Guiding the protection and inheritance of intangible cultural heritage with scientific theory can promote the in-depth study of Marxist historical methodology and deepen the comprehensive understanding of the development of intangible cultural heritage protection, which makes this research have the dual value of combining theory and practice.
4
Galluzzo, Laura, Ambra Borin, and Elena Enrica Giunta. "Designing Transformative Processes in Mountain Realms." In ServDes.2023 Entanglements & Flows Conference: Service Encounters and Meanings Proceedings, 11-14th July 2023, Rio de Janeiro, Brazil. Linköping University Electronic Press, 2023. http://dx.doi.org/10.3384/ecp203002.
Анотація:
Alpine territories are experiencing a period of new dynamism in which relations with the urban environment play an important role in terms of cultural redesign of values, physical and functional connections with local areas and the creation of rurban-mountain networks. This contribution aims to highlight the challenge to trigger a long-term territorial strategy for the Valtellina area – in the Italian Alps – from short-term actions and processes to lead local heritage and cultural production and make stakeholders part of this collective visioning and design practices. Actually, this article illustrates the approaches and methodologies applied to two research and educational projects – involving international students from the School of Design of Politecnico di Milano and the Alta Scuola Programme of Politecnico di Milano and Politecnico di Torino – which resulted in design actions on the territory in terms of temporary experiments for Mega Events and urban regeneration possibilities in Valtellina Area.
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Duport, Laurent J. "Learning from Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.660.
Анотація:
Résumé: Interrogé sur l’enseignement de l’architecture, et bien qu’il ait exposé ses idées sur le sujet principalement dans deux de ses livres : « Précisions » (1930) et « Sur les quatre routes » (1941) Le Corbusier répond : « Je n’ai jamais reçu d’enseignement proprement dit. Je suis autodidacte même dans le sport. ». La formidable puissance didactique de Le Corbusier réside en cinq points : sa formation, son positionnement théorique, son invention de typologies, sa diffusion de l’architecture, sa production prolifique. Ainsi, bien au-delà de l’Œuvre Complète Le Corbusier offre à qui veut s’en servir un champ pédagogique particulièrement riche à découvrir et à partager. Aucun programme ne lui a échappé que ce soit les villas ou maisons, le logement collectif, les bureaux, les équipements (publics ou privés), les bâtiments institutionnels, les musées, les usines : tout est matière à invention. Cette invention s’accompagne de sa diffusion de l’architecture, de ses idées, à travers publications et conférences à travers le monde. Mais cela n’est rien comparé à sa production aux échelles variées de l’habitat minimum jusqu’à l’édifice monumental. C’est pourquoi avec le regard porté sur le projet des Quartiers Modernes Frugès construits à Pessac en 1926 nous examinerons comment ce « laboratoire » constitue une expérience pédagogique qui a valeur d’exemplarité et toujours d’actualité. Abstract: Asked about the architectural education and although he outlined his ideas on the subject mainly in two of his books: "Précisions" (1930) and "Sur les quatre routes" (1941), Le Corbusier replied: "I have never received proper education. I am self-taught even in sport. ". The amazing power of Le Corbusier’s didactic resides in five points: his training, his theoretical positioning, his invention of typologies, his diffusion of architecture, his prolific production. Thus, beyond his “Oeuvres Complètes” Le Corbusier offers to whom wants to use it, a rich educational field to discover and share. No program has eluded him whether it is villas or houses, collective housing, offices, facilities (public or private), institutional buildings, museums, factories : everything is material for invention. This invention is accompanied with his diffusion of architecture, of his ideas in books or lectures all over the world. But this is nothing compare to his production to various scales from the minimum housing to the monumental building. Therefore with the close look on the Modern Quarters Frugès project built in Pessac in 1926 we will examine how this "laboratory" is an educational experience that has of exemplarity value and is still relevant today. Mots-clés: Enseignement, Habitat, Patrimoine XXe, polychromie, Restauration. Keywords: Education, Housing, Heritage XXe, Polychromie, Restoration. DOI: http://dx.doi.org/10.4995/LC2015.2015.660
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Montagna, Gianni, Maria Delgado, Isabel Duarte De Almeida, and Luís Santos. "New skills for new designers: Fashion and Textiles." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001539.
Анотація:
This work arises as a reflection on what it means to be a designer of the future and their greater need for influence and collaboration with the team throughout the product creation cycle. The renewal of a culture of design and business innovation in the area of fashion and textile design is based on the establishment of bridges with different realities that, increasingly dynamic, change the landscape of different products and their creation processes, blurring the boundaries and limits of each area of intervention and its actors. From the small to the big industry we find new needs and professions that project themselves into the future reaching from the past, as in the case of new craft productions that value the identity, artistic and cultural heritage of each geography, supported by new materials and technologies of Industry 5.0. This new dynamic of integrated work, where everyone contributes to enhance the knowledge of each participant, enabling the renewal of knowledge and the development of innovation and social, cultural, and economic inclusion, needs greater support and connection between academia and the creative and productive reality on the ground. The present research group, sustained by the interpretation of the paths of work innovation in the coming decades, intended to provide a contribution to the industry and the culture of national or international design innovation, through research based on the identification of the knowledge and skills necessary for the future training of fashion designers.The adoption of a qualitative and quantitative methodology should allow the collection of data that can indicate trends of needs of future designers and the need to adapt the academy to these new realities. With this study we intend to establish a network of relationships between the different actors in the process of creation and innovation, as well as promote a greater connection between the different forms of creation and production that allow to satisfy the final consumer and their needs around fashion and textiles.
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Vicente, José. "Vernacular Products: An Example to Circular Design." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002026.
Анотація:
Throughout most mankind’s history our daily life artifacts have been designed, produced, and used with respect for social and environmental constrains and within the carrying capacity of ecosystems. Also, they have been created to fulfill tangible and specific needs (not desires) of individuals and communities to their daily tasks and have sustained a thorough process of evolution and adaptation to the cultural and environmental context and, so, have been perfected over time. It has been only with the technological and cultural changes implemented with the industrial revolution that several unbalances have been created in the relation between our material culture and the natural world. It stands to reason that there are lessons to be learned from those previous times, from their habits and, with a design perspective, from their products. This paper presents an analysis of vernacular objects identifying design features related to morphology, functionality, production, material, and use. This text presents as case study a set of vernacular objects from the rural life collection of the Portuguese National Museum of Ethnology. The analysis was made with support of literature, drawing and photography, and adapting some examples from previous studies of vernacular heritage and architecture. These products serve as example of the incorporation of circular product design strategies.
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Košak, Karin, Deja Muck, Marjeta Čuk, and Tanja Nuša Kočevar. "3D printed jewellery design process based on sculpture inspiration." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p57.
Анотація:
In the article we present the educational process in which design students were guided through their design process, creating 3D printed jewellery inspired by the Forma Viva sculptures of the outdoor gallery Kostanjevica na Krki. The assignment was part of the international project Cumulus Re/Forma Viva, whose main goal was to implement digitization using 3D technology in the field of education for the preservation of cultural heritage. The task given to the 1st year masters students of Fashion and Textile Design at the Department of Textiles, Graphic arts and Design at the University of Ljubljana was to select a wooden sculpture and transform the visual and conceptual idea into a 3D printed jewellery collection. The curriculum of the course includes teaching the theoretical basics of 3D printing, 3D print design – fashion accessories and new production, business and marketing models as "disruptive" changes that result from this. In the practical part, students will learn the advanced design process of fashion accessory objects, including 3D technologies such as 3D modelling and 3D printing. Students are guided through a process in which selected visual and conceptual content is translated into fine jewellery that can be created using various 3D printing technologies. In this way, students tested themselves in two new areas that allowed them to expand their design knowledge and experience in 3D modelling and jewellery design with the goal of better "arming" themselves with the latest technologies for today's competitive world.
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Montoya, Catalina, Lina María Escobar-Ocampo, and Claudia María Vélez-Venegas. "Marinilla´s cultural landscape and spacial characterization (Colombia)." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6201.
Анотація:
Marinilla´s cultural landscape and spacial characterization (Colombia). Catalina Montoya Arenas¹, Lina María Escobar Ocampo¹, Claudia Maria Venegas Velez¹ ¹Facultad de Arquitectura, UPB. Circular 1 N°70-01 Medellin, Colombia. E-mail: catalina.montoyaarenas@upb.edu.co, lina.escobar@upb.edu.co, claudia.ve7@gmail.com Keywords (3-5): Cultural landscape, social management, heritage, spacial transformations, tourism Conference topics and scale: Stages in territorial configuration The historic center of Marinilla, National Monument since 1959, is located sixty minutes from Medellin at San Nicolas Valley. It has exceptional landscape conditions, highly productive lands, and a large percentage of the water reserve that supplies the region and the country, giving the territory an economic center character since the colony. These physical values make part of collective imagination as a recreation area and an opportunity for development in the 1960s, according to the construction of large national infrastructure works. At the same time, it was object of armed conflict in the 1980s and 1990s, and more recently, directly related to the spatial dynamics of the region: unplanned urban expansion, changes in land use and vegetation cover, with effects on the cultural landscape. In a post-conflict situation, the economic strategies of different actors trust on tourism as a social-spatial management strategy to improve the territory. However, the identity of rurality shows spatial imbalances without recognizing elements of historical construction whose legacies must be revealed to ensure equitable development. To do this, we propose an approach from the cultural landscape in a revision of the historical, symbolic and relational transformation through five systems (anthropic, productive, political, symbolic and spatial), analyzing competitiveness, tourism, landscape and social management, in different scales and during three historical moments. References (100 words) Busquets, J., and Cortina, A. (2009). Gestión del paisaje: Manual de protección, gestión y ordenación del paisaje. Ariel, Barcelona. Sierra, P. A. (2003). Periferias y nueva ciudad: el problema del paisaje en los procesos de dispersión urbana. Universidad de Sevilla. Barrera, S. (2014). Consideraciones teóricas para el análisis del paisaje. La Metodología de Los eventos relacionales. Perspectivas sobre el paisaje. Varón, D. C. Z. (2015). El derecho al paisaje en Colombia.: Consideraciones para la definición de su contenido, alcance y límites. U. Externado de Colombia. Olmo, R. M. (2008). El paisaje, patrimonio y recurso para el desarrollo territorial sostenible. Conocimiento y acción pública. Arbor, 184(729).
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Garofalo, Laura. "Entangled: A Studio Project Building Ecology." In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.29.
Анотація:
Our identity as architects is still bound with the image of nature that places architecture and other human constructs strictly outside of a “wild” nature that is pure, vibrant, and untamed. This has resulted in nostalgic, exclusionary eco-narratives that curtail the architectural imagination. Understanding our role as part of an evolving ecology and its omnipresent human influence has the potential to rein¬vigorate the practice. Coexisting as interdependent entities (both physical and conceptual), landscape and technology can define built form that imagines productive and healthy infrastructures for a collective ecology. This paper describes the first of a set of studios run by the University at Buffalo School of Architecture and Planning Ecological Practices Graduate Research Group, its collabora¬tion with a parallel techniques course, and a local partner and the design build project it initiated, Silo City Trellis. The studio explored how to formulate an eco-centric identity through small scale architectural interventions, garden struc¬tures that literally and figuratively entwine themselves with the local ecology of a site that is at once a burgeoning “urban wild” and a monument to the city’s post-industrial heritage. This apparently wild site is in fact a garden. Maintained and curated, it highlights the effort it takes to maintain a “natu¬ral” environment in the highly synthetic urban context. The architecture of the garden makes it into an interface where the boundaries between nature and the man-made are perpetually negotiated providing a pedagogical model that proposes alternative ideologies about our ecosystems-both environmental and socio-political. Silo City Trellis is a combined structure and landscape regen¬eration system that literally entwines architecture earth and vegetation. Emulating the work of the site’s Director of Ecology the growing infrastructure aims to suggest ecocentric solutions for the future of cities by pushing the boundaries of architecture as a provider of ecosystem services and social stewardship. The proposal envisions that in a post-nature environment architecture can play a role not only in societal enlightenment but also in the intentional cultivation and stewardship of biological ecologies.