This paper was carried out by the group of professors--Maia Creus, Tamara Diaz, and Ines Martins from the Design Analysis and Prospective Department, with the collaboration of the Catalan Institute for Women, Generali...This paper was carried out by the group of professors--Maia Creus, Tamara Diaz, and Ines Martins from the Design Analysis and Prospective Department, with the collaboration of the Catalan Institute for Women, Generalitat de Catalunya. Maia Creus and Ines Martins are parts of the research group TADD （Theory, Analysis, Design, and Development） recognized by Ramon Llull University. The research, based on feminist and performance studies, focuses on artistic groups currently working in Catalonia and whose practices produce tools and technology sharing, highlight the social and educational potential of ICTs （information and communication technologies） free access when used, consciously and critically, from feminist perspectives assumed. The research project was developed as a dual methodological process. This research group has developed a critical review of the three conceptual axes--women, art, and technology--around which revolves the present study and, in parallel, has conducted field work directly with groups of selected artists, in order to meet them within their areas of production and to know more about their working methods, theoretical discourse, goals, frustrations, and desires. This deployment in parallel was used to develop a group of key concepts that revolve around ＂free culture＂ and ＂culture of access＂ that in contrast with the practices and theories of the investigated groups are necessary to intercept and reinterpret. Through various forms of visibility, this paper intends to investigate, promote, and share these tools, technologies, and pedagogies developed by these groups which, by its own dynamics of collective work, as well as the processes of public participation, emphasize forms of interculturality and interdisciplinary.展开更多
When considering anthologies of African American poetry in the 21 st century,it is noteworthy how much the legacy of the Black Arts Movement of the 1960s and 1970s both positively and negatively shapes their aesthetic...When considering anthologies of African American poetry in the 21 st century,it is noteworthy how much the legacy of the Black Arts Movement of the 1960s and 1970s both positively and negatively shapes their aesthetic politics,framing,and reception.This essay considers how these anthologies use the Black Arts Movement to frame their version of Black poetry and the way they come at questions of literary and cultural lineage,the relationship of Black poetry to African American experience,and formal tradition and innovation.展开更多
In defining“the global archive,”this essay refers,first of all,to the historical development of exhibitions in Germany that address a global horizon,a distinct cultural project since at least the Enlightenment.After...In defining“the global archive,”this essay refers,first of all,to the historical development of exhibitions in Germany that address a global horizon,a distinct cultural project since at least the Enlightenment.After 1945,modem art,which had been removed from public view by the Nazi state,was reintroduced as a project of reeducation as much as aesthetics.Documenta,beginning in 1955,exhibited modem and later artists in the destroyed buildings of the city of Kassel,and expanded its formal and cultural address to a global scale over its fifty-year history.Documenta itself became a kind of continuous archive of its own exhibition history,a mode of formal presentation that increasingly relied on the works it presented.Here I read in detail the archival strategies and form of dOCUMENTA 13,arguably a highpoint of this effort to archive globality as it emerges.Theorists from Michel Foucault,Fredric Jameson,and Aijun Appadurai to the“critical regionalism”of Cheryl Herr and the“negative globality”of Alberto Moreiras assist in the project of comprehending the“archive as form,”seen in a series of artists working on a global scale.展开更多
文摘This paper was carried out by the group of professors--Maia Creus, Tamara Diaz, and Ines Martins from the Design Analysis and Prospective Department, with the collaboration of the Catalan Institute for Women, Generalitat de Catalunya. Maia Creus and Ines Martins are parts of the research group TADD （Theory, Analysis, Design, and Development） recognized by Ramon Llull University. The research, based on feminist and performance studies, focuses on artistic groups currently working in Catalonia and whose practices produce tools and technology sharing, highlight the social and educational potential of ICTs （information and communication technologies） free access when used, consciously and critically, from feminist perspectives assumed. The research project was developed as a dual methodological process. This research group has developed a critical review of the three conceptual axes--women, art, and technology--around which revolves the present study and, in parallel, has conducted field work directly with groups of selected artists, in order to meet them within their areas of production and to know more about their working methods, theoretical discourse, goals, frustrations, and desires. This deployment in parallel was used to develop a group of key concepts that revolve around ＂free culture＂ and ＂culture of access＂ that in contrast with the practices and theories of the investigated groups are necessary to intercept and reinterpret. Through various forms of visibility, this paper intends to investigate, promote, and share these tools, technologies, and pedagogies developed by these groups which, by its own dynamics of collective work, as well as the processes of public participation, emphasize forms of interculturality and interdisciplinary.
文摘When considering anthologies of African American poetry in the 21 st century,it is noteworthy how much the legacy of the Black Arts Movement of the 1960s and 1970s both positively and negatively shapes their aesthetic politics,framing,and reception.This essay considers how these anthologies use the Black Arts Movement to frame their version of Black poetry and the way they come at questions of literary and cultural lineage,the relationship of Black poetry to African American experience,and formal tradition and innovation.
文摘In defining“the global archive,”this essay refers,first of all,to the historical development of exhibitions in Germany that address a global horizon,a distinct cultural project since at least the Enlightenment.After 1945,modem art,which had been removed from public view by the Nazi state,was reintroduced as a project of reeducation as much as aesthetics.Documenta,beginning in 1955,exhibited modem and later artists in the destroyed buildings of the city of Kassel,and expanded its formal and cultural address to a global scale over its fifty-year history.Documenta itself became a kind of continuous archive of its own exhibition history,a mode of formal presentation that increasingly relied on the works it presented.Here I read in detail the archival strategies and form of dOCUMENTA 13,arguably a highpoint of this effort to archive globality as it emerges.Theorists from Michel Foucault,Fredric Jameson,and Aijun Appadurai to the“critical regionalism”of Cheryl Herr and the“negative globality”of Alberto Moreiras assist in the project of comprehending the“archive as form,”seen in a series of artists working on a global scale.
