46,134 research outputs found
Entrevista: Alessandra Re
No full textNessa entrevista, a professora Alessandra Re, docente de Psicologia do Trabalho aposentada, da Università degli Studi di Torino, e personagem importante do Movimento Operário Italiano (MOI) junto com seu companheiro Ivar Oddone, nos fala sobre o papel do psicólogo do trabalho na promoção de saúde dos trabalhadores e sobre as diferenças entre o momento atual e aquele em que surgiu o MOI. A entrevista, concedida a Maristela de Souza Pereira, foi realizada no dia 4 de dezembro de 2013
Conversatorio con Lisa Garforth=Conversation with Lisa Garforth
No full textJulia Ramírez-Blanco conversa con Lisa Garforth, autora del libro Green Utopias y especialista en utopías medioambientales. Con ella, hablamos acerca de las posibles maneras de definir las ecotopías, y cómo estas se manifiestan tanto en la literatura como en distintas formas de práctica social.Julia Ramírez-Blanco interviews Lisa Garforth, author of the book Green Utopias and specialist in environmental utopias. With her, we talk about the possible ways of defining ecotopias, and how they manifest themselves both in literature and in different forms of social practice.http://re-visiones.net/audio/Entrevista-Lisa-Garfoth.mp
Altre Modernità. Rivista di Studi Letterari e Culturali. NUMERO SPECIALE: Imaginarios testimoniales en América latina: objetos, espacios y afectos
No full textEl tema del número especial de la revista está dedicado a la narrativa de testimonio de los ex-desaparecidos del terrorismo de Estado de las últimas dictaduras del Cono Sur en la segunda mitad del siglo XX.
Las prácticas testimoniales hacen estallar los confines entre realidad y ficción y transforman el espacio narrativo en un territorio de restitución de las fracturas de la experiencia, restos que no coinciden con una reparación y un ajuste de cuentas, sino todo lo contrario. Se trata de una constante exploración de los límites de la experiencia.
A partir de estas especulaciones, el presente número especial reúne una selección de los trabajos presentados en el Congreso PRIN 2015 “La letteratura di testimonianza nel Cono Sur (1973-2015): nuovi modelli interpretativi e didattici”, coordinado por Maria Alessandra Giovannini, con Elvira Falivene y Francesca de Cesare, que tuvo lugar en la Universidad de Nápoles ‘L’Orientale’ entre el 9 y el 12 de octubre de 2019. Los artículos aquí recopilados se proponen indagar el peculiar imaginario que el discurso testimonial, en sus diferentes articulaciones textuales y genéricas, define y recorre: modelos que re/presentan la dictadura en sus contradicciones y fisuras, es decir, vuelven a mostrar y exhibir, como especies de réplicas y ecos, escenas de violencia y abuso, escudriñando el más allá de la vivibilidad y la dicibilidad
Epílogo. Una vida más alla del trabajo=Epilogue. A Life Beyond Work
No full textEpílogo del libro El problema del trabajo, Madrid, Traficantes de sueños, 2020.Cesión por parte de la autora y la editorial Epilogue of the book The problem with work, Madrid, Traficantes de sueños, 2020.Assignment by the author and publishe
CASE STUDY: ZULUETA´S RAPTURE. Writtings from inside and outside the Academics on trial
No full textThe present text is divided into two parts: a presentation and a paper. First, in italics, I present what could be called “Case Study: Zulueta’s Rapture” and propose some reflections on its meaning within the framework of current university practices surrounding knowledge. Next to take the stand is the paper itself, the object of the trial, whose author proposes a political reading of the film Rapture (Arrebato in the original Spanish) by Iván Zulueta. Lastly, some conclusions are offered. I will say no more; the text has a complex structure and is best judged by reading it
Relational Representation of Groupoid Quantales
No full textIn Palmigiano and Re (J Pure Appl Algebra 215(8):1945-1957, 2011), spatial SGF-quantales are axiomatically introduced and proved to be representable as sub unital involutive quantales of quantales arising from set groupoids. In the present paper, spatial SGF-quantales of this class are shown to be optimally representable as unital involutive quantales of relations. The results of the present paper have several aspects in common with Jnsson and Tarski's representation theory for relation algebras (Jnsson and Tarski, Am J Math 74(2):127-162, 1952)
The Time of Montage. A lecture in the form of a dialogue
No full textIn this lecture-conversation, Isabel de Naverán and Leire Vergara offer an array of readings, life experiences and descriptions of films in order to address the concept of montage as applied to contemporary choreography and curatorial work.Taking the description of several scenes as a point of departure, the authors propose an understanding of montage (both in exhibits and in choreography) based on a specific temporality in which peripheral elements and everyday life lend intention and meaning to the work. In this partially scripted conversation the authors exchange their perspectives on the white cube and the black box, and question some of the dynamics of those two mechanisms.The Time of Montage has been staged on three occasions. The first was in the Teatro Pradillo in Madrid, in the context of Laboratorio 987 (2013) organized by Chus Domínguez, Nilo Gallego and Silvia Zayas and the cycle of exhibits Form and Vouloir-dire curated by Leire Vergara in 2012 at the MUSAC (Museum of Contemporary Art of Castille and Leon), the second was in the Laboratorio 987 at MUSAC within the same initiative, and the third time in Sukaldea-Tabakalera in San Sebastián (2014) as part of the program Paracinema curated by Esperanza Collado. Each staging involved some changes to the text, the props and the dialogue conducted afterwards.RE-VISIONES presents a new version of the lecture, including the transcription and translation into English of the first two points proposed by each author, and a video recording of the lecture as staged at the Teatro Pradillo
Putting the World to Work
No full textThis text is a translation of the recently published book’s Introduction by Cara New Daggett, The Birth of Energy: Fossil Fuels, Thermodynamics, and the Politics of Work (Durham, Duke University Press, 2019), where this author records how 19th-century cultural imaginaries (particularly those gestated in the British Isles) were deeply convulsed by the articulation of two specific phenomena: on one hand, the creation of a new fossil fuel-based industrial production regime (in particular the massive use of coal) and the increase in employee productivity (subject to the logic of relative capital plusvalia, i.e. the work intensification for each unit of time); on the other hand, the emergence of a new concept of energy around thermodynamic science , which legitimized productive imaginaries and fossil imperialism through the theological perception of nature as an infinite source of resources at the service of human material progress (Western).Original publication: "Introduction: Putting the World to Work," in The Birth of Energy, Cara Daggett, pp. 1-14. Copyright, 2019, Duke University Press. All rights reserved. Republished by permission of the copyright holder.https://read.dukeupress.edu/books/book/2619/chapter/1627666/Putting-the-World-to-Wor
Interview with Michele Di Stefano by Alessandra Sini
No full textRipercorrendo i momenti decisivi della sua eclettica formazione in campo coreografico, durante il primo lockdown in Italy MICHELE DI STEFANO si esprime in questa intervista con ALESSANDRA SINI sulle intuizioni, gli incontri e le sperimentazioni che lo hanno spinto a elaborare la propria personale pratica coreografica a partire dagli anni novanta del Novecento. L’emersione della processualità durante l’evento performativo è una caratteristica ricorrente nelle pratiche coreografiche di Di Stefano, che sostiene quanto la trasmissione sia un processo di creazione in tempo reale determinato anche dall’incontro con i performer. In questo processo si costituisce un (eco)sistema coreografico in cui si creano e si scambiano i saperi del corpo. Sollecitato a riflettere sui temi della memoria e dell’archivio il coreografo rivela il suo personale disinteresse per l’organizzazione e la gestione delle tracce della propria attività artistica per sottolineare come la ripresa di una sua creazione dipenda dalle possibilità di attualizzazione delle premesse che lo hanno originato e di quelle che definisce le “temperature” a suo tempo realizzate più che dalla riproposizione dei segni coreografici.
DOMANDE:
[00:00:18] Qual è la tua prima memoria personale legata alla danza che ha informato la tua poetica coreografica?
[00:06:42] Quando hai iniziato a definirti coreografo?
[00:13:27] Durante le tue pratiche di trasmissione, come ti riferisci alla tua esperienza di formazione?
[00:22:02] Che cosa pensi di aver dimenticato oppure perduto? C’è qualcosa che vorresti dimenticare della tua esperienza di formazione?
[00:27:13] Quali strumenti utilizzi per la realizzazione dei tuoi progetti coreografici?
[00:37:16] Le parole coreografia e pedagogia quali memorie ti sollecitano?
[00:40:04] Che tipo di saperi sono quelli che conservi nel tuo corpo? Vorresti dimenticare qualcosa?
[00:47:04] Quando riprendi una coreografia, che rapporto c’è fra trasmissione e memoria? Quali strumenti adotti per trasmettere di nuovo il tuo progetto?
[00:58:39] Pensi di aver costituito un tuo repertorio? Cosa intendi per repertorio?
[01:03:52] Dove collochi il tuo lavoro e quali sono le influenze e le affinità che pensi più riconoscibili?
[01:07:55] In che modo il tuo lavoro integra la storia e la memoria della danza?
[01:12:39] Fai una differenza tra storia e memoria della danza?
[01:13:57] Che rapporto hai con la conservazione della memoria: Hai organizzato un archivio del tuo processo creativo?
[01:18:17] Come disegneresti la mappa della memoria della danza contemporanea in questo momento?
[01:20:41] In che modo la presenza dello spettatore rientra nel tuo processo creativo?
[01:23:44] Come immagini possibile la continuazione della memoria del tuo lavoro?Looking back at the key moments of his eclectic choreographic training, MICHELE DI STEFANO in his interview to ALESSANDRA SINI during the first lockdown in Italy, speaks about the insights into his practice, the encounters and the experimentations that prompted him to develop his choreographic practice since the ‘90s. The emergence of a process-based performance event is a recurring characteristic of Di Stefano’s choreographic work who claims that transmission is a real-time creative process determined by the encounter with the performer. In this process, body knowledge is created and shared as part of a choreographic (eco)system. When asked to reflect on memory and archive, the choreographer reveals his lack of interest in the organization and systematization of the traces of his artistic practice. He underlines that accessing his earlier choreographic creations depends on the possibility of the re-actualisation of the premises that generated it and on what that he defines as “temperatures” created in time rather than on the repetition of the original choreographic gesture. [00:00:18] What is your first personal memory linked to dance that informed your choreographic poetics?
INTERVIEW QUESTIONS:
[00:06:42] When did you start defining yourself as a choreographer?
[00:13:27] During your practice of dance transmission, how do you relate to the memory of your training experience?
[00:22:02] What do you think you have forgotten or lost? Is there anything you would like to forget about your training experience?
[00:27:13] What kind of tools do you use when you work on your choreographic projects?
[00:37:16] What kind of personal memories do the words choreography and pedagogy bring to your mind?
[00:40:04] What kind of knowledge do you hold in your body? Would you like to let go of something?
[00:47:04] When you rework a choreography, what is the relationship between transmission and memory? What tools do you use to transmit your project?
[00:58:39] Do you think you have built your own repertory and what do you mean by repertory?
[01:03:52] Where do you place your work and what are the influences and affinities that you think are most recognizable?
[01:07:55] How does your work integrate the history and memory of dance?
[01:12:39] Do you differentiate dance history from the memory of dance?
[01:13:57] What is your relationship with memory conservation: Have you organised an archive of your creative process?
[01:18:17] How would you draw the memory map of contemporary dance right now?
[01:20:41] How does the presence of the spectator fit into your creative process?
[01:23:44] How do you imagine the possible continuation of the memory of your work
Introduzione, di Mariella Nocenzi e Alessandra Sannella
No full textLa rappresentazione in un messaggio religioso della principale e più urgente
crisi ambientale da sempre affrontata, il cambiamento climatico, conferma
la portata del fenomeno, ma anche le chiare connessioni con gli ambiti
politico, sociale, economico nei quali si manifestano le più diverse implicazioni
di questa emergenza. Ad emergere è, però, soprattutto, la questione
dell’azione umana come matrice e vittima, al contempo, di quanto sta avvenendo.
Questi elementi, insieme a molti altri, fanno della crisi climatica anche
un fatto sociale rilevante che chiede alle scienze sociali tutte, e alla sociologia
in particolare, di contribuire assieme alle altre discipline a produrre
conoscenza, quella che l’emergenza oggi richiede. Nell’appello papale è sottesa
un’invocazione proprio della conoscenza per orientare la re-azione necessaria
ad allontanare il mondo dal “punto di rottura” indotto dal cambiamento
climatico
- …
