Bøger i Curating and Interpreting Culture serien

This book analyses the dynamic relationship between art and subjective consciousness, following a phenomenological, pragmatist and enactive approach. It brings out a new approach to the role of the body in art, not as a speculative object or symbolic material but as the living source of the imaginary. It contains theoretical contributions and case studies taken from various artistic practices (visual art, theatre, literature and music), Western and Eastern, the latter concerning China, India and Japan.These contributions allow us to nourish the debate on embodied cognition and aesthetics, using theory-philosophy, art history, neuroscience-and the authors' personal experience as artists or spectators. According to the Husserlian method of "reduction" and pragmatist introspection, they postulate that listening to bodily sensations-cramps, heartbeats, impulsive movements, eye orientation-can unravel the thread of subconscious experience, both active and affective, that emerge in the encounter between a subject and an artwork, an encounter which, following John Dewey, we deem to be a case study for life in general.Ce livre analyse la relation dynamique entre l'art et la conscience subjective, selon une approche phénoménologique, pragmatiste et enactive. Il vise à faire émerger une nouvelle approche du rôle du corps dans l'art, non pas comme objet spéculatif ou matériau symbolique, mais comme source vivante de l'imaginaire. Les contributions théoriques et les études de cas sont prises à diverses pratiques artistiques (arts visuels, théâtre, littérature et musique), occidentales et orientales, ces dernières concernant la Chine, l'Inde et le Japon.Selon la méthode husserlienne de réduction , en écho à l'introspection pragmatiste, les textes témoignent que l'écoute des sensations corporelles - crampes, battements de c¿ur, mouvements pulsionnels, orientation des yeux - mises en jeu par l'¿uvre, permet de dénouer le fil de l'expérience inconsciente, à la fois kinesthésique et affective, qui émerge dans la rencontre entre un sujet et une ¿uvre d'art, une rencontre comprise, à la manière de Dewey, comme un cas d'école de la vie en général.

'Teaching In/Between: Curating educational spaces with autohistoria-teoría and conocimiento' is an iteration of an educator's embodied teaching and theorizing through testimonio work. Sotomayor, through a decolonizing feminist teaching inquiry, documents and analyzes her experiences as a facilitator in higher education while teaching the undergraduate course 'Latina Feminisms, Latinas in the US: Gender, Culture and Society'. This unique book is her interpretation and implementation of the seven recursive stages of Gloria Anzaldúa's conocimiento theory as transformative acts to guide her research design and teaching approach. Sotomayor's distinct bridging of Anzaldúa's theories of autohistoria-teoría and conocimiento offers an expansive perspective to how theorizing and curating our lived experiences can be transformational processes within academia. Sotomayor applies Anzaldúa's theories and her own theorizing to curate educational spaces that decolonize White hegemonic academic canons and empower underrepresented learners who may experience a deep sense of not belonging in academia. She situates herself in the study as curator, and her practice as curator as an agent of self-knowledge production and theorizing to create self-empowering learning environments. Sotomayor's work dwells within the lineage of border and cultural studies with shared voices of Gloria Anzaldúa, AnaLouise Keating, Mariana Ortega, Ami Kantawala, Maxine Greene, and Ruth Behar. Her work is considered a guide for teaching practitioners and researchers who hope to develop ways of knowing within their teaching environments that are inclusive and holistic for learners through a non-linear transformative process. 'Teaching In/Between' can be adapted for classroom use for pre-service teachers and instructors as well as creative interpretations for interdisciplinary works within Chicana/x, Latina/x, Art Education, Visual Arts and History, Women's & Gender Studies, Border and Cultural Studies.

Can cultural exchange be understood as a mutual act of translation? Or are elements of a country's cultural identity inevitably lost in the act of exchange? Brazil and Great Britain, although unlikely collaborators, have shared an artistic dialogue that can be traced back some 500 years. This publication, arising from the namesake research project funded by the United Kingdom's Arts and Humanities Research Council, seeks to understand and raise awareness of the present practices of cultural exchange between Brazil and Great Britain in relation to their historical legacy. Presenting five case studies and eight position papers, this research-based project investigates how artists interpret, transmit and circulate ideas, ideologies and forms of knowledge with specific reference to the production of new 'translations' produced from and, where possible, between peripheral territories. Written in accessible language, the case studies describe the experience of artists, managers and cultural leaders dealing with important challenges in the creative sector regarding the translation of creative and learning arts methodologies. Projects investigated are at the forefront of social arts collaborative practice, representing internationally influential initiatives that have had a demonstrable impact not only in urban centres and peripheries but also in isolated areas of central Brazil and the north of England. The position papers commissioned by the research from Brazilian and British academics and cultural leaders provide a remarkable variety of social, political, anthropological, historic and artistic perspectives of cultural exchange projects offering valuable experiences for those working in research, policy and for creative practitioners.

How are museums working internationally through exhibitions? What motivates this work? What are the benefits and challenges? What factors contribute to success? What impact does this work have for audiences and other stakeholders? What contributions are they making to cultural diplomacy, intercultural dialogue and understanding? Cosmopolitan Ambassadors first considers the current state of knowledge about international exhibitions and proposes an interdisciplinary analytical framework encompassing museum studies, visitor studies, cultural diplomacy and international cultural relations, cosmopolitanism and intercultural studies. It then presents a comprehensive empirical analysis of an exhibition exchange involving two exhibitions that crossed five countries and three continents, connecting six high profile cultural institutions and spanning almost a decade from initial conception to completion. A detailed comparison of both the intercultural production of international exhibitions by museum partnerships and by the interpretive acts and meaning-making of visitors, reveals the many complexities, challenges, tensions and rewards of international exhibitions and their intersection with cultural diplomacy. Key themes include the realities of international collaboration, its purposes, processes and challenges; the politics of cultural (self-)representation and Indigenous museology; implications for exhibition design, interpretation, and marketing; intercultural competency and museum practice; audience reception and meaning-making; cultural diplomacy in practice and perceptions of its value. This first-ever empirically-grounded, theoretical analysis provides the basis of a new model of museums as polycentral: as places that might produce a kaleidoscopic vision of multiple centres and help to dissolve cultural boundaries by encouraging dialogue, negotiation and the search for intercultural understandings. Guidelines for practice include recommendations for successful international museum partnerships, exhibition development and maximizing the potential of museum diplomacy.

What is archaeology? A research field dealing with monuments? A science? A branch of philosophy? Dzby¿ski suggests the simple but thoughtful equation: Archaeology = History = Knowledge.This book consists of 8 chapters presenting a collection of characteristic philosophical attitudes important for archaeology. It discusses the historicity of archaeological sources, the source of the algorithmic approach in archaeological reasoning, and the accuracy of logical and irrational thinking. In general, this book is concerned with the history of archaeologists' search for a suitable methodology. All these issues are discussed in relation to two main intellectual trends of archaeology to the present day: processual and post-processual archaeology. Processualism introduced and developed the idea of algorithmic and universal reasoning in archaeology, while post-processualism focused attention on the individual value of a monument and the archaeologist himself. These are still two foundations on which the present knowledge of the past is based, and thus their defining role cannot be overestimated. An additional layer of narrative, visible right from the beginning of the book, is the gradual discovery of the relationship between archaeology and popular culture, especially film and literature. Its aim is both illustration and explanation. It is intended that the reader receives not only information and knowledge, but also a deeper emotional reference which is connected with the reception of works of art.

Can cultural exchange be understood as a mutual act of translation? Or are elements of a country's cultural identity inevitably lost in the act of exchange? Brazil and Great Britain, although unlikely collaborators, have shared an artistic dialogue that can be traced back some 500 years. This publication, arising from the namesake research project funded by the United Kingdom's Arts and Humanities Research Council, seeks to understand and raise awareness of the present practices of cultural exchange between Brazil and Great Britain in relation to their historical legacy. Presenting five case studies and eight position papers, this research-based project investigates how artists interpret, transmit and circulate ideas, ideologies and forms of knowledge with specific reference to the production of new 'translations' produced from and, where possible, between peripheral territories. Written in accessible language, the case studies describe the experience of artists, managers and cultural leaders dealing with important challenges in the creative sector regarding the translation of creative and learning arts methodologies. Projects investigated are at the forefront of social arts collaborative practice, representing internationally influential initiatives that have had a demonstrable impact not only in urban centres and peripheries but also in isolated areas of central Brazil and the north of England. The position papers commissioned by the research from Brazilian and British academics and cultural leaders provide a remarkable variety of social, political, anthropological, historic and artistic perspectives of cultural exchange projects offering valuable experiences for those working in research, policy and for creative practitioners.

How are museums working internationally through exhibitions? What motivates this work? What are the benefits and challenges? What factors contribute to success? What impact does this work have for audiences and other stakeholders? What contributions are they making to cultural diplomacy, intercultural dialogue and understanding? Cosmopolitan Ambassadors first considers the current state of knowledge about international exhibitions and proposes an interdisciplinary analytical framework encompassing museum studies, visitor studies, cultural diplomacy and international cultural relations, cosmopolitanism and intercultural studies. It then presents a comprehensive empirical analysis of an exhibition exchange involving two exhibitions that crossed five countries and three continents, connecting six high profile cultural institutions and spanning almost a decade from initial conception to completion. A detailed comparison of both the intercultural production of international exhibitions by museum partnerships and by the interpretive acts and meaning-making of visitors, reveals the many complexities, challenges, tensions and rewards of international exhibitions and their intersection with cultural diplomacy. Key themes include the realities of international collaboration, its purposes, processes and challenges; the politics of cultural (self-)representation and Indigenous museology; implications for exhibition design, interpretation, and marketing; intercultural competency and museum practice; audience reception and meaning-making; cultural diplomacy in practice and perceptions of its value. This first-ever empirically-grounded, theoretical analysis provides the basis of a new model of museums as polycentral: as places that might produce a kaleidoscopic vision of multiple centres and help to dissolve cultural boundaries by encouraging dialogue, negotiation and the search for intercultural understandings. Guidelines for practice include recommendations for successful international museum partnerships, exhibition development and maximizing the potential of museum diplomacy.