1,724,286 research outputs found
Reading Australia Essay: "Romulus, My Father" by Raimond Gaita
No full textThis is an introductory essay about the memoir "Romulus, My Father" by Raimond Gaita. The essay was published as part of the Copyright Agency's "Reading Australia" initiative.\ud
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"In a critical moment of reflection and pause, Romulus, My Father offers the reader a key to its interpretation. The author – philosopher Raimond Gaita – tells us that ‘Plato said that those who love and seek wisdom are clinging in recollection to things they once saw’. This reference to the Greek philosopher’s work Phaedrus occurs when the boy Raimond is about eight years old. He seems already to understand much about his father, in particular his father’s goodness, which he finds expressed in his workmanship, his honesty, and his commitment to friends. And yet, as Plato forewarns us, a search for the ultimate wisdom of such things must come later – several decades on, when Gaita is faced with the task of writing his father’s eulogy. It is then that a sense of his father’s character is joined to his own search for wisdom, a combination of biography and reflection that marks the memoir form at its best, and shapes the ultimate impact of Romulus, My Father...."--publisher websit
Turnings of attention : Mabo [part two]. by Raimond Gaita
No full texttag=1 data=Turnings of attention : Mabo [part two]. by Raimond Gaita
tag=2 data=Gaita, Raimond
tag=3 data=Quadrant,
tag=4 data=37
tag=5 data=10
tag=6 data=No 300 October 1993
tag=7 data=44-48.
tag=8 data=ABORIGINAL LAND RIGHTS%MABO
tag=10 data=The main difference between Brennan and Hulme is over their understanding of the meaning of terra nullius and over its place in the settled property law of Australia.
tag=11 data=1993/5/11
tag=12 data=93/0663
tag=13 data=CABThe main difference between Brennan and Hulme is over their understanding of the meaning of terra nullius and over its place in the settled property law of Australia
Turnings of attention : Mabo [Part one]. by Raimond Gaita
No full texttag=1 data=Turnings of attention : Mabo [Part one]. by Raimond Gaita
tag=2 data=Gaita, Raimond
tag=3 data=Quadrant,
tag=4 data=37
tag=5 data=9
tag=6 data=No 299 September 1993
tag=7 data=36-39.
tag=8 data=ABORIGINAL LAND RIGHTS%MABO
tag=10 data=It has been said that in pursuit of fashionable political ends the six Justices who constituted the majority in the Mabo hearings recklessly usurped powers which should be exercised by parliament.
tag=11 data=1993/5/10
tag=12 data=93/0592
tag=13 data=CABIt has been said that in pursuit of fashionable political ends the six Justices who constituted the majority in the Mabo hearings recklessly usurped powers which should be exercised by parliament
The Victorian doctors and the demands of compassion. by Raimond Gaita
No full texttag=1 data=The Victorian doctors and the demands of compassion. by Raimond Gaita
tag=2 data=Gaita, Raimond
tag=3 data=Quadrant,
tag=4 data=XXXIX
tag=5 data=316
tag=6 data=Number 5 May 1995
tag=7 data=23-26.
tag=8 data=EUTHANASIA
tag=9 data=ASSISTED SUICIDE
tag=10 data=One wonders what kind of compassion is consistent with such a blinkered incapacity to appreciate the many ways in which human dignity may be expressed and acknowledged.
tag=11 data=1995/1/4
tag=12 data=95/0204
tag=13 data=CABOne wonders what kind of compassion is consistent with such a blinkered incapacity to appreciate the many ways in which human dignity may be expressed and acknowledged
Oficina de Gaita: Aprenda Gaita Online
No full textEste trabalho consiste no registro das etapas de elaboração da Oficina de Gaita, um curso massivo, aberto e colaborativo de Educação Musical, na modalidade à distância, por meio do ensino da Gaita Diatônica, instrumento também conhecido como Gaita Blues ou Gaita de Boca. O curso é voltado a pessoas adultas sem letramento musical, iniciantes em gaita desinteressados em se tornarem músicos profissionais. O curso está relacionado ao aplicativo Telegram®, utilizado neste projeto como um ambiente virtual de aprendizagem.This work consists on registering the steps of Oficina de Gaita´s development. Oficina de Gaita is a massive, open, online and collaborative course of music education through teaching harmonica, also called blues harp. This course is intended for adult persons without music literacy, beginners in harmonica studies who are disinterested about being professional musicians. This course is related about the Telegram® app, used in this project as a learning management system
Gaita Pietro
No full textSi indaga la produzione artistica di Gaita Pietro, argentiere documentato nel XIX secolo in SiciliaWe investigate the artistic production of Gaita Pietro, a documented silversmith in the 19th century in Sicil
Gaita Giuseppe
No full textSi indaga la produzione artistica di Gaita Giuseppe, argentiere documentato nel XIX secolo in SiciliaWe investigate the artistic production of Gaita Giuseppe, a documented silversmith in the 19th century in Sicil
Gaita, Jenesano-Boyacá
No full textEl proyecto busca introducir la cestería en Gaita, típica del municipio de Jenesano en Boyacá, en el mercado de los acabados arquitectónicos con el objetivo de ampliar los escenarios de aplicación de este oficio y de esta forma darle mayor visibilidad y un valor agregado que se ve en la exploración formal y la utilización de materiales industriales en conjunto con la fibra.
Tras un proceso de investigación de la comunidad de mujeres artesanas del municipio, múltiples experimentaciones con materiales industriales, materializadas por la maestra artesana María Tránsito Jiménez, varias propuestas a nivel de render y bocetos preliminares, se obtuvieron propuestas de acabados arquitectónicos variados como apliques de pared y cielos rasos, que no sólo rescatan la tradicionalidad de la cestería en Gaita, sino que elevan su atractivo al tener un valor de innovación por incluir materiales muy opuestos a la Gaita.
Como resultado de estas etapas, se desarrollaron tres propuestas viables y realizables, de las cuales se llevó a producción el aplique de pared 'Soles', una pieza que destaca y preserva la herencia artesanal, enaltece las lógicas del tejido y rinde homenaje a las artesanas de la comunidad.
Todo el proceso se vio mediado por una metodología basada en la experimentación de materiales y la co-creación con la artesana, resultando en un ejercicio productivo y simbiótico entre el diseño y la artesanía, donde los lenguajes convergen para dar resultado a un producto que fusiona ambas disciplinas.Diseñador IndustrialPregradoThe project seeks to introduce basket weaving in Gaita, typical of the municipality of Jenesano in Boyacá, into the architectural finishes market with the aim of expanding the application scenarios of this craft, giving it greater visibility and added value through formal exploration and the use of industrial materials alongside the fiber.
After a research process of the community, multiple experiments with industrial materials, materialized by master artisan María Tránsito Jiménez, and various render proposals and preliminary sketches, several architectural finish designs were obtained, such as wall applications and ceilings. These not only preserve the tradition of Gaita but also enhance its appeal by incorporating materials that are very different from it.
As a result of these stages, three viable designs were developed, of which the wall application “Soles” was produced, a piece that highlights and preserves the artisanal heritage, exalts the weaving technique and pays tribute to the artisans of the community.
The entire process was guided by a methodology based on material experimentation, in field observation and co-creation with the artisan, resulting in a productive and symbiotic exercise between design and craftsmanship, where the languages of both disciplines converge to create a product that fuses them together
"Del grito al pick". Aplicación de características Interpretativas de la gaita hembra, en el aire de gaita, al lenguaje de la guitarra eléctrica.
No full textEste documento pretende lograr un acercamiento a la música de gaitas desde la interpretación e intervención de la guitarra eléctrica que, en un ejercicio de “traducción” del lenguaje de la gaita hembra (aunque ésta indefectiblemente viene siempre acompañada de la gaita macho debido a una cuestión de completitud, no solo en lo sonoro sino en la misma cosmovisión de su música, se optó por separar la gaita hembra de la macho para profundizar en el discurso interpretativo de la primera, que resulta mucho más rico, ritmo-melódicamente hablando), apropia elementos ritmo-melódicos y tímbricos de ella para aplicarlos en su práctica de improvisación. Para desarrollar dicha pretensión se encuentran aquí registrados una serie de capítulos que embarcan al lector en un viaje que, comienza en la indagación de orígenes y contextos, atraviesa comparaciones, análisis y, finalmente arriba en la traducción y aplicación de los datos obtenidos dando como resultado ciertas frases que condensan el modelo interpretativo de la gaita hembra en el aire de gaita. Esa noción de modelo es soportada por Simha Arom (2001), quien establece cómo a partir de la redundancia y la variación de elementos, se construyen códigos pertenecientes a un sistema que dota de identidad a las músicas tradicionales y a otras manifestaciones culturales. Así mismo, el soporte brindado por Néstor Lambuley (s.f.), quien expone que las creaciones populares, entre ellas, la música, tienen una estructura definida que se puede generalizar y contrastar con otros sistemas, refuerza de manera importante la naturaleza analítica de este trabajo.Licenciado en MúsicaTesis de pregradoThis document intends to achieve an approach to the gaitas music from electric guitar interpretation and intervention that, in a “translation” exercise of gaita hembra language (although this is invariably always accompanied by the gaita macho due to an issue of completeness, not only in the sound but also in the worldview of its music, it was decided to separate the gaita hembra from the gaita macho to deepen the interpretative discourse of the first, which is much richer, rhythm-melodically speaking), appropriates rhythm-melodic and timbral elements of her to apply them in the practice of improvisation of the electric guitar. To develop this claim are recorded here a series of chapters that embark the reader on a journey that begins in the investigation of origins and contexts, crosses comparisons, analysis and finally arrives in the translation and application of the data obtained resulting certain phrases that condense the interpretative model of the gaita hembra in the gaita tune. This notion of model is supported by Simha Arom (2001), who establishes how, from redundancy and variation of elements, codes belonging to a system that gives to the traditional music and other cultural manifestations identity, are constructed. Also, the support provided by Néstor Lambuley, who explains that popular creations, among them, music, have a defined structure that can be generalized and contrasted with other systems, reinforces in an important way the analytical nature of this work
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