16,475 research outputs found
Fernandez, Roberto Miguel
No full textCentro Asturiano membership record of Roberto Miguel Fernandez; Socio Number: 79437.https://digitalcommons.usf.edu/asturiano_membership/2582/thumbnail.jp
Roberto Fernandez Retamar (Cuba). Char : Tres
No full textRoberto Fernandez Retamar (Cuba). Char : Tres . In: Cahiers du monde hispanique et luso-brésilien, n°49, 1987. René Char. pp. 49-50
Roberto Fernandez Retamar (Cuba). Char : Tres
No full textRoberto Fernandez Retamar (Cuba). Char : Tres . In: Cahiers du monde hispanique et luso-brésilien, n°49, 1987. René Char. pp. 49-50
Audiomobiles, Sculptures and Conundrums
No full textRoberto Gerhard was a pioneer of electronic music in England creating a number of substantial concert, theatre and radio works from as early as 1954. Gerhard’s electronic music is one of the richest repositories for understanding the development of the composer’s late compositional technique. Apart from the Symphony no.3, ‘Collages’, none of Gerhard’s electronic music is published. This paper will discuss aspects of Gerhard’s electronic music, focusing on Audiomobiles (1958-59) and Sculptures (1963)
Roberto Fernandez, El laboratorio americano. Arquitectura, Geocultura y Regionalismo
No full textTomas François. Roberto Fernandez, El laboratorio americano. Arquitectura, Geocultura y Regionalismo. In: Caravelle, n°71, 1998. Senteurs et saveurs d'Amérique latine. pp. 224-225
Apertura 8ª Jornada de Bibliotecas y Centros de Documentación de la Universidad de Buenos Aires
No full textFil: Fernandez Aldúncin, Roberto. Universidad de Buenos Aires. Facultad de Agronomía; ArgentinaPalabras de Roberto Fernandez Aldúncin (Secretario de Investigación y Posgrado de FAUBA), en la apertura de la 8ª Jornada de Bibliotecas y Centros de Documentación de la Universidad de Buenos Aires
Roberto Gerhard’s Sound Compositions: A Historical-Philological Perspective. Archive, Process, Intent and reenactment
No full textThis research advances the current state of knowledge in the field of early tape music both empirically and methodologically. The purpose of this study is to evaluate the impact that the electronic medium exerted in the musical thinking of Roberto Gerhard, one of the most outspoken, prolific and influential composers in the Spanish diaspora whose musical legacy, for the most part unknown, is a major landmark in the early history of electroacoustic music. Gerhard’s personal tape collection, one of the largest historical archives of its kind reported in the literature, is exceptional for both its antiquity (50+-year-old tapes) and its abundance of production materials. Through the digitisation and analysis of the composer’s tape collection this research argues that the empirical study of audio documents sets out a basis for a broader understanding of textual processes. More specifically, the research demonstrates that the reconstruction of works based on magnetic tape sketches is a powerful method to advance the understanding of early tape music. This research also examines Gerhard’s sound compositions in relation to the post-war context in which they were composed. Finally, this research presents performance documentation that proposes an approach to the electroacoustic music repertoire in which creativity is not at odds with rigor and critical discernment demonstrating that archival study can be closely aligned to the concept of re-enactment
ROBERTO FERNANDEZ RETAMAR EM CARTAS: (des) encantos da revolução cubana
No full textResumo:A Revolução Cubana (1959) foi recebida com entusiasmo por intelectuais na América Latina. O projeto de construir uma arte que se insurgisse contra as opressões capitalistas e promovesse um diálogo mais próximo com a sociedade e com as demandas da classe trabalhadora surgiu como um caminho promissor. Roberto Fernandez Retamar (1930- 2019), um dos principais ideólogos culturais da revolução, trabalhou com afinco pela consolidação desse projeto. Contudo, logo se verá, especialmente a partir de 1968, um endurecimento na política cultural cubana, o que se efetivará por meio do controle e da censura de ideias, obras, premiações, artistas e escritores que, eventualmente, fossem críticos ao ideário castrista. Considerando esse contexto, nesse artigo discutimos a presença, em algumas das cartas escritas, endereçadas ou que se referem a Roberto Fernandez Retamar, de uma atmosfera crítica e tensa que expressa questões polêmicas relativas à Revolução Cubana e ao regime castrista, a exemplo do “Caso Padilla”, buscando compreender como essa atmosfera reverbera discussões sobre os sentidos da cultura e da arte em suas inúmeras expressões. Concluímos, por meio da análise de diversos textos epistolares, que desde o princípio a Revolução Cubana, na dimensão de sua política cultural, configurou-se a partir do debate sobre o papel da cultura, intelectual e do artista na revolução. Vencendo, sobretudo a partir de 1971, a perspectiva que compreendia a cultura como instrumento da revolução, o que provocou o desencanto de muitos intelectuais latino-americanos, mas não arrefeceu as convicções de Roberto Retamar acerca do regime.Palavras-chave: Revolução cubana. Roberto Retamar. (des)encanto.Resumen:La Revolución Cubana (1959) fue recibida con entusiasmo por los intelectuales de América Latina. El proyecto de construir un arte que se levante contra la opresión capitalista y promueva un diálogo más estrecho con la sociedad y con las demandas de la clase obrera aparece como un camino prometedor. Roberto Fernández Retamar (1930-2019), uno de los principales ideólogos culturales de la revolución, trabaja arduamente para consolidar este proyecto. Sin embargo, poco después, especialmente a partir de 1968, se producirá un endurecimiento de la política cultural cubana, que se producirá mediante el control y censurade ideas, obras, premios, artistas y escritores que, eventualmente, fueron críticos con las ideas de Castro. Teniendo en cuenta este contexto, en este artículo discutimos la presencia, en algunas de las cartas escritas, dirigidas o referidas a Roberto Fernandez Retamar, de un clima crítico y tenso que expresa temas controvertidos relacionados con la Revolución Cubana y el régimen de Castro, como el “Caso Padilla”, buscando comprender cómo este ambiente repercute en las discusiones sobre los significados de la cultura y el arte en susmúltiples expresiones. Concluimos, mediante el análisis de varios textos epistolares, que desde sus inicios la Revolución Cubana, en la dimensión de su política cultural, se configuró a partir del debate sobre el papel de la cultura, intelectual y artista en la revolución. Superar, especialmente a partir de 1971, la perspectiva que entendía la cultura como un instrumento de revolución, que provocó el desencanto de muchos intelectuales latinoamericanos, pero que no enfrió las convicciones de Roberto Retamar sobre el régimen castrista.Palabras clave: Revolución cubana; Roberto Fernandez Retamar; (des)encanto.Abstract:The Cuban Revolution (1959) was enthusiastically received by intellectuals in Latin America. The project of building an Art that would rise up against capitalist oppression in order to promote a closer dialogue with society and with the demands of the working class appears as a promising path. Roberto Fernandez Retamar (1930-2019), one of the main cultural ideologues of the revolution, works hard to consolidate this project. However, soon afterwards, especially from 1968, there will be a hardening of Cuban cultural politics, which will take place through the control and censorship of ideas, works, awards, artists and writers who, eventually, were critical of Castro’s ideas. Considering this context, in this article we discuss the presence, in some of the letters written, addressed or referring to Roberto Fernández Retamar, of a critical and tense atmosphere that expresses controversial issues related to the Cuban Revolution and the Castro regime, such as the “Padilla Case”, seeking to understand how this atmosphere reverberates discussions about the meanings of culture and art in its different expressions. We conclude, through the analysis of several epistolary texts, that since the beginning the Cuban Revolution, in the dimension of its cultural policy, was configured from the debate about the role of culture, intellectual and artist role in the revolution. Overcoming, especially from 1971onwards, the perspective that understood culture as an instrument of revolution, which caused the disenchantment of many Latin American intellectuals, but did not shake down Roberto Retamar’s convictions about the Castro regime.Keywords: Cuban Revolution. Roberto Retamar. (des) enchantmen
Conferencia: Mejora de las propiedades de las enzimas por inmovilización". Roberto Fernandez Lafuente (Instituto de catalasis y petroquímica)CISIC. Madrid.
No full textConferencia: Mejora de las propiedades de las enzimas por inmovilización". Roberto Fernandez Lafuente (Instituto de catalasis y petroquímica)CISIC. Madrid
HOLA. Episode 1. The Roberto Hernandez Center.
No full textThis episode describes the community activism that came together to establish the Spanish Speaking Outreach Institute at UWM in 1971. The SSOI eventually became the Roberto Hernandez Center. Speakers include Tony Baez, Ricardo Fernandez, and Graciela De La Cruz. The narrator is Gabriela Dorantes. Introduction by Alberto Maldonado.Sound
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