scholarly journals Midiatização, consumo e práticas culturais artesanais

2020 ◽  
Vol 18 (41) ◽  
pp. 220
Author(s):  
Denise Figueiredo Barros do Prado

Neste artigo, discutimos como as práticas culturais artesanais de Mariana (MG) se constituem em diálogo com a midiatização. Refletimos sobre como as mesclas com o midiático afetam as práticas culturais artesanais a partir de Canclini (2015), Certeau (2009) e Appadurai (2008). Metodologicamente, foram feitos o registro fotográfico das produções artesanais expostas em 13 lojas de artesanato de Mariana (MG) e entrevistas narrativas com 18 artesãs da cidade, entre 2016 e 2018. Realizou-se a análise interpretativa deste material. A partir disso, percebemos que as práticas culturais artesanais se veem afetadas pelo midiático, de modo que evidenciam um tensionamento e uma reconfiguração de suas formas tradicionais e suas possibilidades criativas no contexto atual. Práticas culturais artesanais; Midiatização; Processos interacionais; Consumo. In this article, we discuss how the craft cultural practices of Mariana (MG) are constituted in dialogue with mediatization. We reflect on how the mixtures with the media affect the cultural practices with the contributions of Canclini (2010,2015) and Certeau (2009). Methodologically, we have taken photos of craft productions exhibited in 13 craft stores in Mariana (MG) and interviewed 18 artisans from the city between 2016 and 2018. The interpretative analysis of this material was carried out. From this, we realize that the cultural craft cultural practices are affected by the media, so that they show a tension and a reconfiguration of their traditional forms and their creative possibilities in the current context. Craft cultural practices; Mediatization; Interactional processes; Consumption. En este artículo, discutimos cómo las prácticas culturales artesanales de Mariana (MG) constituyen un diálogo con la mediatización. Reflexionamos sobre cómo las mezclas con los medios afectan las prácticas culturales de la artesanía desde Canclini (2010, 2015) y Certeau (2009). Metodológicamente, fue realizado el registro fotográfico de las producciones artesanales exhibidas en 13 tiendas de artesanías en Mariana (MG) y entrevistas narrativas con 18 artesanas en la ciudad entre los años 2016 y 2018. Se realizó un análisis interpretativo de este material. A partir de esto, se percibe que las prácticas culturales artesanales se ven afectadas por los medios, por lo que muestran una tensión y una reconfiguración de sus formas tradicionales y sus posibilidades creativas en el contexto actual. Prácticas culturales artesanales; Mediatización; Procesos de interacción; Consumo.

DeKaVe ◽  
2013 ◽  
Vol 1 (1) ◽  
Author(s):  
Akbar Annasher

Broadly speaking, this paper discusses the phenomenon of murals that are now spread in Yogyakarta Special Region, especially the city of Yogyakarta. Mural painting is an art with a media wall that has the elements of communication, so the mural is also referred to as the art of visual communication. Media is a media wall closest to the community, because the distance between the media with the audience is not limited by anything, direct and open, so the mural is often used as media to convey ideas, the idea of ??community, also called the media the voice of the people. Location of mural art in situations of public spatial proved inviting the owners of capital to use such means, in this case is the mural. Manufacturers of various products began racing the race to put on this wall media, as time goes by without realizing the essence of the actual mural art was forced to turn to the commercial essence, the only benefit some parties only, the power of public spaces gradually occupied by the owners of capital, they hopes that the community can view the contents of messages and can obtain information for the products offered. it brings motivation and cognitive and affective simultaneously in the community.Keywords: Mural, Public Space, and Society.


Author(s):  
Samuel Llano

As is described in this conclusion, more than the media and culture, Madrid’s public space constituted the primary arena where reactions and attitudes toward social conflict and inequalities were negotiated. Social conflict in the public space found expression through musical performance, as well as through the rise of noise that came with the expansion and modernization of the city. Through their impact on public health and morality, noise and unwelcomed musical practices contributed to the refinement of Madrid’s city code and the modernization of society. The interference of vested political interests, however, made the refining of legislation in these areas particularly difficult. Analysis of three musical practices, namely, flamenco, organilleros, and workhouse bands, has shown how difficult it was to adopt consistent policies and approaches to tackling the forms of social conflict that were associated with musical performance.


2018 ◽  
Vol 33 (1) ◽  
pp. 218-237 ◽  
Author(s):  
Karolina Koziura

This article is part of the special cluster titled Bukovina and Bukovinians after the Second World War: (Re)shaping and (re)thinking a region after genocide and ‘ethnic unmixing’, guest edited by Gaëlle Fisher and Maren Röger. This article explores ways in which Habsburg nostalgia has become an important factor in contemporary place-making strategies in the city of Chernivtsi, Western Ukraine. Through the analysis of diasporic homecomings, city center revitalization, and nationalist rhetoric surrounding the politics of monuments, I explore hybrid and diverse ways in which Habsburg nostalgia operates in a given setting. Rather than a static and homogenous form of place attachment, in Chernivtsi different cultural practices associated with Habsburg nostalgia coexist with each other and depending on the political context as well as the social position of the “nostalgic agents” manifest themselves differently. Drawing from my long-term ethnographic fieldwork, I argue that in order to fully understand individuals’ attachment to space, it is necessary to grasp both the subtle emotional ways in which the city is experienced by individuals as well as problematize the role of the built environment in the visualization of collective memory and emotions of particular groups. The focus on changing manifestations of the Habsburg nostalgia can bring then a better understanding of the range and scope of the city’s symbolic resources that might be mobilized for various purposes.


Author(s):  
Michael Sorkin ◽  
Graham Cairns

Sardonic, cutting, insightful, provocative: Michael Sorkin is one of today’s most radical architectural commentators with a staunch leaning to the political left and a literary bent for framing painful truths in ironic, and sometimes hilarious, verse. However, he should not be dismissed as a radical, isolated, or lone and unhindered voice however. He is a Distinguished Professor of Architecture and Director of the Graduate Program in Urban Design at the City College of New York, and he has been Professor of Urbanism and Director of the Institute of Urbanism at the Academy of Fine Arts, Vienna. In addition, he has taught at architecture schools across the world, including the Architectural Association, Columbia, Yale, Harvard and Cornell. Sorkin runs his own design studio and research institute and has been a contributing editor of the Architectural Record . He was the architecture critic of the Village Voice for ten years and has published innumerable articles and essays. A list of some of his books includes: Twenty Minutes in Manhattan , Variations on a Theme Park , Exquisite Corpse , The Next Jerusalem , Indefensible Space , and a long list of other etcs . and alsos ….In this interview-article, he offers his opinion on a range of issues, including the environmental threats to contemporary America, architectural symbolism and paranoia, the importance of political action on the streets of the modern city, and the role of the architecture critic in the complex tapestry of contemporary culture. With regard the position of the modern critic, he begins by responding to a question regarding the relevance of Noam Chomsky’s description of the media as a form of propaganda and the contemporary journalist as functioning through the structure of what Chomsky defines as “filters,” or constraints and biases that dictate what gets written and published in the press.


2021 ◽  
Vol 8 (1) ◽  
pp. 135-144
Author(s):  
Anna Notaro

This article, originally delivered at the 16th international conference of the Architectural Humanities Research Association (University of Dundee, November 2019), seeks to engage with the ‘emotive’, ‘sensorial’ and ‘affective turn’, as defined by authors in the humanities, social and cultural studies in order to consider the emotional responses to the mediated experiences of place and to inquire into how individuals and collectives react to a changing sensory environment. It adopts a multi-disciplinary approach that blends historical, cultural and mediated dimensions of urban spaces and places while maintaining a focus on the kind of locative/interactive art which is less concerned with representation and more with radical construction, social engagement and communication. The purpose is to try and provide an answer to the question: what does ‘sensing the city’ exactly entail when the city’s form, as Baudelaire memorably put it, ‘changes faster than the human heart?’


Ricercare ◽  
2021 ◽  
pp. 56-71
Author(s):  
Mariia Mykhalonok

This article examines linguistic framing of Medellin as the city of the musical genre reggaeton in online media discourse, drawing on Fillmore’s frame semantics theory (1977). The most salient frames applied towards Medellin are those of centrality, home, and music, whereby the city’s global significance as a musical hub is emphasized through the terms belonging to the frame of world. The use of components from the frames of crime and drugs suggests that the drug-related past of Medellin is integrated into its new cultural profile. Another part of the new Medellin brand are the city’s residents themselves, who are credited with supporting local reggaetonero/as, and are typically referred to with overtly positive vocabulary from the frames of love, help, and home. Although some texts evoke negative stereotypes about reggaeton, the media mostly present the Medellin reggaeton scene through the frames of success, power, and business.


2021 ◽  
Author(s):  
Michael Pereira

This thesis revisits the murder of the 12-year-old Portuguese immigrant boy Emanuel Jaques in Toronto in 1977 and the cultural response it ignited through qualitative interviews with five Portuguese gay men who were coming of age around this moment. Homosexual men across the city were conflated with the men who murdered Jaques because of their sexualities and depicted as a threat to children by politicians, law officials, protestors, and members of the media. Young Portuguese gay men found themselves in between two sides of an intense moral panic yet their experiences had not previously been sought out and recorded. They recall facing a fear of self and of others following the murder, a questioning or rejection of their sexualities, and in one case, continuing guilt. These experiences are considered within a broader context of what it meant to be Portuguese and gay in the ‘70s and ‘80s in Toronto.


2021 ◽  
Vol 7 (4) ◽  
pp. 139-144
Author(s):  
Chevin Ramadhan Hadiwijaya ◽  
Muhammad Imam Zan Zabiyla Analuddin ◽  
Ayikacantya Sudayasa ◽  
Muhammad Hoki Akbar ◽  
Lilyana Aritonia Ahmad ◽  
...  

Background: Adequate health systems and effective strategies are needed to increase trust and acceptance in vaccines. Generation Z is more concerned with environmental issues related to the pandemic situation.Objective: This study aimed to assess the acceptance of the COVID-19 vaccine in Generation Z.Methods: This was an observational analytical study with a cross-sectional design on generation Z in Southeast Sulawesi, Indonesia, from May to July 2021. The samples were taken by cluster sampling using faculty classification. Data was collected using a questionnaire with a google form, included the characteristics, knowledge regarding COVID-19 and vaccine, and the media information.Results: There were 396 participants. Most of them were 20 years (52.6%), female (74.8%), and Muslim (93.7%). About 61.6% live outside the city and had insurance (77.3%). Half of the participants knew the COVID-19 symptoms (51.26%), some participants were hesitant (11.8%) and did not even know (0.76%). Almost all participants were aware of the COVID-19 vaccination program (99.2%), benefits (95.2%), side effects (84.1%), and knew the contents of the COVID-19 vaccine (62.1%). Most of them were willing to take the COVID-19 vaccine (77.8%). However, 17.93% were hesitant, and 4.29% were unwilling to participate. Most participants were not trusting vaccines (43.9%), did not feel the need (29.3%), and felt access was not easy (26.8%). Most of them used social media to get information about COVID-19 (89.1%).Conclusion: Generation Z has a good acceptance of the COVID-19 vaccine, even though there are still doubts and rejects. Accurately and sustainable information is needed.


2020 ◽  
Vol 17 (1) ◽  
pp. 143-154
Author(s):  
Nada Torlak ◽  
Momčilo Jokić

In modern information and IT society, creativity is elevated to a pedestal as a condition for market success, but also survival. In other words, in post-industrial production, or the entire economy, and certainly media companies, which of course operate according to market principles and are based on information, creativity is the most wanted commodity. In the modern knowledge society, there has been a strong affirmation of the phenomenon of cultural, that is, creative industries that have great importance for the economic, social, political and general development of society. At the same time, changes in the economic, technological and cultural spheres have strongly influenced changes in the media, as an important creative industry. This means that media products (information, videos, pics) and the media are industry, not only because of the rating criteria which dictate the direction of business but also because it is about mass production and consumers. Creativity is an important strategic resource for increasing competitiveness in a knowledge-based economy. However, media policy does not encourage the systematic promotion of creativity. Consumerist entertainment industry suppresses and marginalizes authentic, creative cultural practices, replacing them with pseudo-cultural contests. The integration of theoretical knowledge and education into the Serbian media sphere is practically at the zero points with recurrences that seriously undermine the overall development, application of knowledge, modern technological achievements, and the affirmation of democracy and freedom as the basic precondition for the overall prosperity of society.


2020 ◽  
Vol 3 (1) ◽  
pp. 26-40
Author(s):  
Diwan Setiawan ◽  
Sri Wulandari

Bandung is a city that has a variety of culinary, it makes this city as a culinary tourism destination that highly demanded by both domestic and foreign tourists. Based on data from the Department of Culture and Tourism of Bandung, Bandung has a legendary street food culinary that is highly favored by culinary enthusiasts who visit this city. Street food culinary is snacks that have been around for a long time with authentic flavors and stories behind, some of popular street food culinary are bandros, combro, colenak, ketan bakar, cireng ​​and others. The rapid development of culinary potential in this city has caused many new street foods that enriches culinary diversity in Bandung so that culinary enthusiasts need an information media contains of information about culinary in this city, especially authentic street food culinary which is starting to be hard to find. Through qualitative methods and data collection techniques by means of field studies such as observation, interviews and questionnaires, it is necessary to design an application-based information media. The final results of this research is user interface design for the media that informs Bandung street food culinary. Inspired by the word kabita which comes from Sundanese means tempted to taste food, was chosen as the name of the application that informs culinary street food in the city of Bandung that aims to facilitate culinary enthusiasts to get that information


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