scholarly journals Salinas. Paisaje de silencio = Salt flats. A silent landscape

2020 ◽  
pp. 72
Author(s):  
Reyes Abad Flores ◽  
Macarena Gross Ariza
Keyword(s):  
Popular Culture ◽  
Cultural Identity ◽  
Cultural Landscapes ◽  
Natural Landscape ◽  
Human Presence ◽  
Salt Flats ◽  
Local Traditions ◽  
Made In ◽  
Artistic Research ◽  
Artisanal Production

RESUMEN: La serie fotográfica Salinas. Paisajes de silencio presentada en el Seminario internacional Paisajes de la sal (UPM 2019) se inserta en un proyecto de investigación estética que busca retratar espacios pensados, diseñados para/desde el silencio dentro de los límites de Andalucía. Este conjunto de paisajes evocadores y cautos, estimula una percepción ajena a ciertos estereotipos culturales y estéticos vinculados, fundamentalmente, a la tradición urbana. En la búsqueda intuitiva de estos espacios imprecisos, las salinas se convierten en objetivo clave por su fórmula paisajística natural, artesanal y su plástica cambiante. Las imágenes generan una ficción, un lugar idealizado y necesario donde la naturaleza es protagonista y la presencia humana relegada. Siguiendo un juego de sinestesias, una serie de objetos interactúan con el medio, evocando un sonido, un sabor, un estado, una historia y una luz. La serie está realizada por completo en las salinas de Bonanza de Sanlúcar de Barrameda (Cádiz). ABSTRACT:The photographic serie Salt flats. A silent landscape was presented in the International Seminary Cultural Landscapes of Artisan Salt (UPM 2019) as part of an artistic research proyect about a range of scenaries and territories whitin the limits of Andalusia that embodies the aestehtic values of silence. These evocative and guarded landscapes bring a perspective that differs from the stereotyped views of the local traditions and cultural identity. The beauty of the salt flats soon became an inspiration and a main focus of the work. The mix of natural landscape, artisanal production and the changing appearance of plastic elements generates a fiction and an idealistic vision of a silent landscape, a particular concept of photography that emphazises the beauty of nature and relegates the human presence to a second place. A number of objects related to the popular culture and the artisanal production of salt interact with the enviroment and the artistic intentionality is build around a shared body of synesthesia: a sound, a light, a taste, a story, an emotion... The photographic serie was made in the historic salt flats of Sanlúcar de Barrameda (Cádiz).

Call Your "Mutha"

2020 ◽  
Author(s):  
Jane Caputi
Keyword(s):  
African American ◽  
Popular Culture ◽  
The Other ◽  
Political Class ◽  
Mother Nature ◽  
And Gender ◽  
Mother Earth ◽  
Made In

The proposed new geological era, The Anthropocene (a.k.a. Age of Humans, Age of Man), marking human domination of the planet long called Mother Earth, is truly The Age of the Motherfucker. The ecocide of the Anthropocene is the responsibility of Man, the Western- and masculine-identified corporate, military, intellectual, and political class that masks itself as the exemplar of the civilized and the human. The word motherfucker was invented by the enslaved children of White slave masters to name their mothers’ rapist/owners. Man’s strategic motherfucking, from the personal to the planetary, is invasion, exploitation, spirit-breaking, extraction and toxic wasting of individuals, communities, and lands, for reasons of pleasure, plunder, and profit. Ecocide is attempted deicide of Mother Nature-Earth, reflecting Man’s goal to become the god he first made in his own image. The motivational word Motherfucker has a flip side, further revealing the Anthropocene as it signifies an outstanding, formidable, and inexorable force. Mother Nature-Earth is that “Mutha’ ”—one defying translation into heteropatriarchal classifications of gender, one capable of overwhelming Man, and not the other way around. Drawing upon Indigenous and African American scholarship; ecofeminism; ecowomanism; green activism; femme, queer, and gender non-binary philosophies; literature and arts; Afrofuturism; and popular culture, Call Your “Mutha’ ” contends that the Anthropocene is not evidence of Man’s supremacy over nature, but that Mother Nature-Earth, faced with disrespect, is going away. It is imperative now to call the “Mutha’ ” by decolonizing land, bodies, and minds, ending rapism, feeding the green, renewing sustaining patterns, and affirming devotion to Mother Nature-Earth.

This Is an Abridged Account of Delhi Which Is an Old City and One of the Chosen Ones amongst the Cities

2018 ◽  
Author(s):  
Mirza Sangin Beg
Keyword(s):  
Popular Culture ◽  
East India Company ◽  
Ordinary People ◽  
Work Spaces ◽  
History Of ◽  
English East India Company ◽  
Local Traditions ◽  
The Cost ◽  
The City ◽  
Cost Of Construction

The second part of the translation has three segments. The first is dedicated to the history of Delhi from the time of the Mahabharat to the periods of Anangpal Tomar to the Mughal Emperor Humayun as also Sher Shah, the Afghan ruler. In the second and third segments Mirza Sangin Beg adroitly navigates between twin centres of power in the city. He writes about Qila Mubarak, or the Red Fort, and gives an account of the several buildings inside it and the cost of construction of the same. He ambles into the precincts and mentions the buildings constructed by Shahjahan and other rulers, associating them with some specific inmates of the fort and the functions performed within them. When the author takes a walk in the city of Shahjahanabad, he writes of numerous residents, habitations of rich, poor, and ordinary people, their mansions and localities, general and specialized bazars, the in different skills practised areas, places of worship and revelry, processions exemplifying popular culture and local traditions, and institutions that had a resonance in other cultures. The Berlin manuscript gives generous details of the officials of the English East India Company, both native and foreign, their professions, and work spaces. Mirza Sangin Beg addresses the issue of qaum most unselfconsciously and amorphously.

The Politics of a Memory Wound: Norwegian Exceptionalism and the Trauma of July 22, 2011

2021 ◽  
pp. 000276422110031
Author(s):  
E. Johanna Hartelius ◽  
Kaitlyn E. Haynal
Keyword(s):  
Cultural Identity ◽  
Criminal Proceedings ◽  
Natural Landscape ◽  
National Imaginary ◽  
Local Residents ◽  
Youth Camp ◽  
With Memory ◽  
Dual Case ◽  
Media Event

Following the July 22, 2011, Oslo bombing and shootings at the Utøya youth camp Norway became embroiled in a conflict over commemorative ethics. The memorial initially selected in an international contest, Memory Wound by Jonas Dahlgren, drew opposition from victims’ families and local residents for its severe impact on the natural landscape. Plans for installation were cancelled in 2017. This controversy, we submit, must be contextualized in relation to the Norwegian justice system’s handling of Anders Breivik, the perpetrator whose criminal proceedings were kept relatively secluded. We demonstrate how the design of Memory Wound and the suppression of Breivik’s publicity reflect a symbolic logic traceable to a national imaginary of Norwegian exceptionalism. By interpretively aligning the use of negative space in Memory Wound with the muting of Breivik as a media event, we investigate the prescriptive force of symbols to inculcate world views. Specifically, we attend to the foreclosure of “prosthetic memory,” which through media circulation allows people to engage with memory that is not primarily theirs. We acknowledge the possibility of empathy across difference that Landsberg ascribes to prosthetic memory; however, we insist that the circumstances under which solidarity might be rejected must be considered. With a dual case study, we offer a perspective on enduring assumptions about cultural identity and the rise of rightwing extremism in Northern Europe.

Perspectives on the European Videogame

2021 ◽  
Keyword(s):  
Popular Culture ◽  
North American ◽  
Game Development ◽  
Global Impact ◽  
Collective Work ◽  
Philosophical Ground ◽  
History Of ◽  
The Creation ◽  
European Production ◽  
Made In

The history of European videogames has been so far overshadowed by the global impact of the Japanese and North American industries. However, European game development studios have played a major role in videogame history, and prominent videogames in popular culture, such as <i>Grand Theft Auto</i>, <i>Tomb Raider</i> and <i>Alone in the Dark</i> were made in Europe. This book proposes an exploration of European videogames, including both analyses of transnational aspects of European production and close readings of national specificities. It offers a kaleidoscope of European videogame culture, focusing on the analysis of European works and creators but also addressing contextual aspects and placing videogames within a wider sociocultural and philosophical ground. The aim of this collective work is to contribute to the creation of a, so far, almost non-existent yet necessary academic endeavour: a story of the works, authors, styles and cultures of the European videogame.

‘ROCK SPECTRALE’: THE CULTURAL IDENTITY OF THE ELECTRIC GUITAR IN TRISTAN MURAIL'S vampyr!

Tempo ◽  
2015 ◽  
Vol 69 (274) ◽  
pp. 22-32
Author(s):  
Ben Jameson
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
Cultural Identity ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Electric Guitar ◽  
Concert Music ◽  
Analytical Approaches

AbstractThe electric guitar is one of the most iconic musical instruments of the twentieth and twenty-first centuries and, due to its ubiquitous use in much rock and popular music, it has developed a strong cultural identity. In recent years, as the electric guitar has become increasingly common in contemporary concert music, its cultural associations have inevitably shaped how composers, performers and listeners understand music performed on the instrument. This article investigates various issues relating to the electric guitar's cultural identity in the context of Tristan Murail's Vampyr! (1984), in the hope of demonstrating perspectives that will be useful in considering new music for the electric guitar more generally. The article draws both on established analytical approaches to Murail's spectral oeuvre and on concepts from popular music and cultural studies, in order to analyse the influence that the electric guitar's associations from popular culture have in new music.

scholarly journals Educational Activities Concerning Folk/Popular Culture in Greek Primary School Websites

2017 ◽  
Vol 13 (10) ◽  
pp. 246
Author(s):  
Rea Kakampoura ◽  
George Katsadoros ◽  
Αphrodite Nounanaki ◽  
Dimitris Kolokythas
Keyword(s):  
Popular Culture ◽  
Cultural Identity ◽  
Primary Schools ◽  
Cultural Groups ◽  
Online Data ◽  
Public And Private ◽  
Education School ◽  
Online Data Collection ◽  
Complex Term ◽  
School Books

Folk/Popular culture comprises a many-sided and complex term, existing in both its traditional (Folk) and contemporary dimension (Popular). Many of its aspects can be traced in Primary Education school books, but in many cultural school displays as well. Student participation in cultural oriented activities encourages enculturation, the awareness of belonging in one or many cultural groups, and, successively, an understanding of one’s cultural identity. This article presents the results of research conducted all over Greece concerning educational programs and activities about folk/popular culture as shown in the websites of Greek public and private Primary Schools and Kindergartens, utilizing online data collection.

scholarly journals CULT PLACES OF MARI AS A SYMBOL OF CULTURAL IDENTITY

2019 ◽  
Vol 13 (4) ◽  
pp. 678-687
Author(s):  
Vladimir Gennadyevich Kudryavtsev
Keyword(s):  
National Identity ◽  
Cultural Identity ◽  
Landscape Design ◽  
Religious Organizations ◽  
Self Defense ◽  
The People ◽  
National Movements ◽  
The Creation ◽  
Local Traditions

The article is devoted to the study of places of worship in traditional Mari culture, which are in varying degrees of sacredness. They have so far preserved artifacts and symbols that form the cultural identity of the people. The Mari religion in the most complete local traditions preserves the system of pagan cults and rites. The trend towards the revival of pagan religion and the creation of religious organizations and communities is associated with a general upsurge in national identity. This became necessary in the context of national movements as a means of ethnic self-defense and a factor of ethnocultural revival. Original ethnocultural traditions and formative elements of folk architecture are relevant and important in the design of modern architectural complexes and the creation of small architectural forms in folk architecture, landscape design, and the formation of an ethnocultural environment. Further sacralization of places of worship will contribute to the preservation of natural monuments and the manifestation of artifacts and symbols of cultural identity.

FROM LAVAPIÉS TO STOCKHOLM: EIGHTEENTH-CENTURY VIOLIN FANDANGOS AND THE SHAPING OF MUSICAL ‘SPANISHNESS’

2020 ◽  
Vol 17 (2) ◽  
pp. 177-199
Author(s):  
ANA LOMBARDÍA
Keyword(s):  
Eighteenth Century ◽  
Popular Culture ◽  
Cultural Identity ◽  
Chamber Music ◽  
Musical Identity ◽  
Violin Sonata ◽  
Violin Music ◽  
Musical Traditions ◽  
Solo Violin

ABSTRACTSince the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultural identity. It became increasingly popular in instrumental chamber music, as well-known examples by Domenico Scarlatti, Antonio Soler and Luigi Boccherini show. To date, published musicological scholarship has not considered the role of solo violin music in the dissemination of the fandango or the shaping of a ‘Spanish’ musical identity. Now, eight rediscovered pieces – which can be dated to the period 1730–1775 – show that the violin was frequently used to perform fandangos, including stylized chamber-music versions. In addition to offering evidence of the violin's role in the genre, these pieces reveal the hybridization of the fandango with foreign musical traditions, such as the Italian violin sonata and French courtly dances, demonstrating hitherto overlooked negotiations between elite and popular culture in mid-eighteenth-century Spain. Analysis of these works’ musical features challenges traditional discourses on the ‘Spanishness’ of the fandango and, more broadly, on the opposition between ‘native’ and ‘foreign’ music in eighteenth-century Spain.

The Importance of Imports

2017 ◽  
Author(s):  
Patricia J. Graham
Keyword(s):  
Popular Culture ◽  
Sixteenth Century ◽  
Cultural Identity ◽  
Material Culture ◽  
Crucial Role ◽  
Chinese Culture ◽  
Material Objects ◽  
Artistic Life ◽  
Obaku Zen

This chapter explores the cultural identity of Ōbaku Zen, which played a crucial role in the sixteenth century as a vehicle for importing Chinese culture. This was manifested in Manpukuji’s initial trove of material culture associated with the temple’s founder, Ingen Ryūki (Ch. Yinyuan Longqi, 1592–1684). It also touches upon the reception and legacy of Ingen’s material objects to demonstrate how naturalized into Japanese life Ōbaku’s presence became. This greatly affected other sectarian traditions and even diverse aspects of Japanese intellectual and artistic life and popular culture outside the religious sphere from the Tokugawa era up to the present.

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