scholarly journals Digital creation: possible (and achievable) futures

Artnodes ◽  
2021 ◽  
Author(s):  
Paloma González Díaz
Keyword(s):  
Social Transformation ◽  
Science And Technology ◽  
Digital Transformation ◽  
Digital Art ◽  
Creative Processes ◽  
The Public ◽  
New Methodologies ◽  
The One ◽  
Digital Processes ◽  
Exciting Project

During the last year, science and technology have been playing an indispensable role in a difficult and complex context. All areas of our lives have been forced to adapt to digital processes at an accelerated pace. Faced with an obvious economic and social transformation, we want to consider the state of culture and creation, one of the sectors hardest hit by the crisis. Specifically, we are interested in focusing on the particular situation of digital creation, devastated especially by the lack of protection and funding, by the closure of galleries and specialised spaces. It is not a question of starting from scratch. Future possibilities must be presented as opportunities. First, by analysing what has been learned, experienced and discussed so far before and during the pandemic. From there, we must identify, on the one hand, the direct consequences of the pandemic, and on the other, the problems arising from the acceleration of the digital transformation. Especially in those aspects that allow us to relaunch and promote new lines of work, heterogeneous initiatives, or new methodologies while always bearing in mind that this knowledge and experience has to settle and survive under the rules of the digital economy. Both the creation and consumption of content requires new digital, communication, entrepreneurial and commercial skills. Let us look for new perspectives, let us face the transversality that the hybridisation between art, science and technology can offer. Let us analyse and share with all those involved in all the creative processes and avoid going back into a loop. We are facing a complicated and risky, but exciting project. It is more necessary than ever to learn from mistakes, and to extract the value of certain experiences related to digital art. And, above all, let us not forget two of the most important components: to value the creators, to recover the public, and to attract those who have never felt attracted by these types of artistic practices. Let us look for and share the way to encourage and promote new contents and scenarios.

Introduction

2020 ◽  
pp. 1-19
Author(s):  
Andrew C. Gilbert
Keyword(s):  
Ethnic Groups ◽  
Bosnia And Herzegovina ◽  
Cultural Production ◽  
Social Transformation ◽  
The Political ◽  
Creative Processes ◽  
International Intervention ◽  
Direct Participation ◽  
The One

This introductory chapter provides an overview of international intervention in Bosnia and Herzegovina. Years of international intervention had significantly shaped postwar politics in Bosnia and Herzegovina. Comprising an uneasy encounter between and among the political classes claiming to represent one of Bosnia's three main ethnic groups (Croats, Serbs, and Bosniaks) and a wide array of foreign agencies like the one headed by Austrian diplomat Wolfgang Petritsch, these interventions ranged from indirect relations of supervision to the direct participation of foreign agents in Bosnian government. This book studies international intervention and the problems of legitimacy that emerge in and through what can be called “intervention encounters.” It analyzes international intervention as a series of encounters to reveal the creative processes of cultural production and social transformation that happen in everyday interactions by members of unequally positioned groups.

scholarly journals Dignity in the digital age: Broadcasting the Oscar Pistorius trial

2018 ◽  
Vol 15 (3) ◽  
pp. 401-422 ◽  
Author(s):  
Katherine Biber
Keyword(s):  
South Africa ◽  
Digital Media ◽  
Social Transformation ◽  
Court Ruling ◽  
The Public ◽  
Significant Events ◽  
Administration Of Justice ◽  
The Media ◽  
The One ◽  
The Right

Oscar Pistorius was tried for the murder of Reeva Steenkamp in South Africa in 2014. His trial was broadcast live, after media agencies applied to the court for comprehensive access to the courtroom. The decision to broadcast the trial followed a careful and deliberative court ruling about the constitutional principles of human dignity, freedom and equality. South Africa’s post-apartheid Constitution provides a framework for achieving social transformation, and open justice plays an important role in it. Despite concerns about sensationalism and voyeurism, the broadcast of the Pistorius trial functioned as a constitutional experiment. This article evaluates the principles and practices of open justice in South Africa through the broadcast of the Pistorius trial, and the roles played by the media, the courts and the public. It identifies significant events during the trial, including its reporting, which had the effect of testing the compatibility of open justice, on the one hand, and the proper administration of justice, on the other. The right of an accused to a fair trial, at times, confronted the sensitivities of the victim’s family, the rights of the media and the demands of the public to witness justice being done. This article examines the tangled relationship between dignity and justice, compounded by the technologies of digital media, in the unique context of post-apartheid South Africa.

scholarly journals Debating as an educational method to science and citizenship

2007 ◽  
Vol 06 (03) ◽  
pp. C08
Author(s):  
Sara Calcagnini
Keyword(s):  
Da Vinci ◽  
Science And Technology ◽  
Leonardo Da Vinci ◽  
The Other ◽  
Science Museums ◽  
Educational Method ◽  
The Real ◽  
The Public ◽  
Aims Of Science ◽  
The One

If one of aims of science today is to respond to the real needs of society, it must find a new way to communicate with people and to be acquainted with their opinions and knowledge. Many science museums in Europe are adopting new ways to actively engage the public in the debate on topical scientific issues. The Museum of Science and Technology "Leonardo da Vinci" in Milan (partner of the SEDEC project) has thus experimented some formats for dialogue with teachers and with the public in general. Our experience shows that museums can be places where science and the public on the one hand and democracy on the other meet.

scholarly journals TAMBOR DE MINA E DIVINO ESPÍRITO SANTO: ARTICULAÇÕES, DIVERSIDADE, CRIATIVIDADETAMBOR DE MINA AND THE HOLY SPIRIT: ARTICULATIONS, DIVERSITY, CREATIVITY

2021 ◽  
Vol 18 (1) ◽  
pp. 155
Author(s):  
João Leal
Keyword(s):  
Public Space ◽  
Holy Spirit ◽  
The Other ◽  
Creative Processes ◽  
Espírito Santo ◽  
The Public ◽  
The Holy Spirit ◽  
State Capital ◽  
The One ◽  
Espirito Santo

Este artigo está focado nos diversos modos de articulação entre o Tambor de Mina – a religião afro-brasileira prevalecente entre a população afrodescendente de São Luís (a capital do estado do Maranhão) –, e as festas do Espírito Santo – uma festa católica que é a mais importante celebração pública nas casas de culto de Tambor de Mina. A minha ênfase é nos processos criativos associados a esses diversos modos de articulação. Argumento que esses processos estão ligados, por um lado, às políticas mais amplas de gestão das fronteiras entre gêneros religiosos que cada casa de culto adota e, por outro lado, a diferentes políticas de exibição e contenção centradas na (in)visibilidade do Tambor de Mina no espaço público. O artigo é uma contribuição tanto para os debates antropológicos sobre criatividade como para as discussões sobre processos de interface entre diferentes gêneros religiosos nas religiões afro-brasileiras.ABSTRACTThis paper is focused on the diverse modes of articulation between Tambor de Mina – the African-Brazilian religion prevalent among the Afro-descendent population of São Luís (the state capital of Maranhão, Brazil) – and Holy Ghost feasts – a Catholic feast that is the most important public celebration in Tambor de Mina cult houses. My emphasis is on the creative processes associated with these diverse modes of articulation. I argue that these processes are connected, on the one hand, to the wider politics of management of the boundaries between religious genres that each cult house adopts and, on the other hand, to different politics of display and containment centred on the (in)visibility of Tambor de Mina in the public space. The paper is both a contribution to recent anthropological debates on creativity and to recent discussions on processes of interface between different religious genres in African-Brazilian religions.

The screen performance as an instrument of propaganda (on the example of Ivan Kavaleridze’s film «Koliivshchyna», 1933)

2019 ◽  
Vol 25242644 ◽  
pp. 63-68
Author(s):  
Alina Lisnevska
Keyword(s):  
Video Content ◽  
The Public ◽  
Screen Media ◽  
Social Settings ◽  
Soviet Ideology ◽  
The One ◽  
Historical Truth ◽  
Screen Performance ◽  
Personalized Video ◽  
Remote Past

The myth-making processes in the communicative space are the «cornerstone» of ideology at all times of mankind’s existence. One of the tools of the effective impact of propaganda is trust in information. Today this come round due to the dissemination of information on personalized video content in social networks, including through converged media. New myths and social settings are creating, fate of the countries is being solved, public opinion is being formed. It became possible to create artificially a model of social installation using the myths (the smallest indivisible element of the myth) based on real facts, but with the addition of «necessary» information. In the 20–30 years of the XX century cinematograph became the most powerful screen media. The article deals with the main ideological messages of the Ukrainian Soviet film «Koliivshchyna» (1933). In the period of mass cinematography spread in the Soviet Ukraine, the tape was aimed at a grand mission – creation of a new mythology through the interpretation of the true events and a con on the public, propaganda of the Soviet ideology. This happened in the tragic period of Ukrainian history (1933, the Holodomor) through the extrapolation of historical truth and its embodiment in the most formative form at that time – the form of the screen performance. The Soviet authorities used the powerful influence of the screen image to propagate dreams, illusions, images, stereotypes that had lost any reference to reality. I. Kavaleridze’s film «Koliivshchyna» demonstrates the interpretation of historical events and national ideas, the interpretation of a relatively remote past through the ideology of the «Soviet-era». The movie is created as a part of the political conjuncture of the early 1930s: the struggle against Ukrainian «bourgeois nationalism» and against the «Union of Liberation Ukraine», the repressive policies against the peasants, the close-out of the «back to the roots» policy. The movie, on the one hand, definitely addresses to the Ukrainian ideas, on the other hand it was made at the period of the repressions against the Ukrainian peasantry. In the movie «Koliivshchyna», despite the censorship, I. Kavaleridze manages to create a national inclusive narrative that depicts Ukrainian space as multi-ethnic and diverse, but at the same time nationally colorful.

State of Fashion: Searching for the New Luxury

APRIA Journal ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 11-16
Author(s):  
José Teunissen
Keyword(s):  
Twentieth Century ◽  
Daily Life ◽  
Life Cycles ◽  
The Other ◽  
Century Model ◽  
Cocktail Party ◽  
The Public ◽  
Other Hand ◽  
The One

In the last few years, it has often been said that the current fashion system is outdated, still operating by a twentieth-century model that celebrates the individualism of the 'star designer'. In I- D, Sarah Mower recently stated that for the last twenty years, fashion has been at a cocktail party and has completely lost any connection with the public and daily life. On the one hand, designers and big brands experience the enormous pressure to produce new collections at an ever higher pace, leaving less room for reflection, contemplation, and innovation. On the other hand, there is the continuous race to produce at even lower costs and implement more rapid life cycles, resulting in disastrous consequences for society and the environment.

Freedom of Expression versus Privacy and the Right to Reputation

2017 ◽  
Author(s):  
Dirk Voorhoof
Keyword(s):  
Public Interest ◽  
Freedom Of Expression ◽  
Media Freedom ◽  
Investigative Journalism ◽  
The Public ◽  
The Right Of Privacy ◽  
The One ◽  
Grand Chamber ◽  
The Right ◽  
The Impact

The normative perspective of this chapter is how to guarantee respect for the fundamental values of freedom of expression and journalistic reporting on matters of public interest in cases where a (public) person claims protection of his or her right to reputation. First it explains why there is an increasing number and expanding potential of conflicts between the right to freedom of expression and media freedom (Article 10 ECHR), on the one hand, and the right of privacy and the right to protection of reputation (Article 8 ECHR), on the other. In addressing and analysing the European Court’s balancing approach in this domain, the characteristics and the impact of the seminal 2012 Grand Chamber judgment in Axel Springer AG v. Germany (no. 1) are identified and explained. On the basis of the analysis of the Court’s subsequent jurisprudence in defamation cases it evaluates whether this case law preserves the public watchdog-function of media, investigative journalism and NGOs reporting on matters of public interest, but tarnishing the reputation of public figures.

Academic Freedom and the Politics of Truth

2018 ◽  
Author(s):  
Michael P. Lynch
Keyword(s):  
Academic Freedom ◽  
Democratic Deliberation ◽  
Public Mind ◽  
Epistemic Practice ◽  
The Public ◽  
The One ◽  
Rational Inquiry ◽  
The Ideal

This chapter argues that academic freedom is justified because it is an inherently epistemic practice that serves the ideals of democracy. With Dewey, it is argued that “The one thing that is inherent and essential [to the idea of a university] is the ideal of truth.” But far from being apolitical, the value of pursuing truth and knowledge—the value that justifies academic freedom, both within and without the public mind—is a fundamental democratic value, and for three reasons: the practices of academic inquiry exemplify rational inquiry of the kind needed for democratic deliberation; those practices serve to train students to pursue that kind of inquiry; and those practices are important engines of democratic dissent.

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