349 research outputs found
¿Quién teme a la historia en el arte contemporáneo? Investigación artística y modelos de historicidad
No full textRevolver el tiempo: nuevas historicidades para nuevos futuros en la investigación artística
No full textERT applied to the study of saltwater intrusion
No full textTreballs Finals de Grau de Física, Facultat de Física, Universitat de Barcelona, Curs: 2022, Tutores: Perla Piña-Varas, Pilar Queralt CapdevilaSea water intrusion, or saltwater intrusion (SWI) is a common phenomenon in coastal aquifers. With electrical resistivity tomography (ERT) method, a region’s subsoil can be characterized, leading to pseudo-section maps that allow to differentiate between freshwater and saltwater cavities. In this study, ERT method was applied in the Riera de Sant Pol de Mar, in two different surveys a month apart; which permitted to measure a strong variation between both and track the aquifer’s underground evolution. This allowed the observation and analysis of the seawater intrusion phenomenon. If combined with additional methods or information, a better understanding of the diverse processes that occur beneath the aquifer’s surface could be achieve
Historizität und Intersubjektivität der Ästhetischen Erfahrung. Eine Positionierung zwischen Jauss und Kant
No full textThis article seeks to formulate a theory of aesthetic experience, which includes a historical dimension. It first takes some historical examples of aesthetic experience and looks for similarities amongst them. It then presents a personal reading of Jauss's theory of aesthetic experience, which, though historicist, presents a general or universal structure. The article aims to demonstrate that Jauss's theory is highly productive for the purpose of the current argument, but offers no satisfying solution to the problem of intersubjectivity. To solve this problem, the author turns to a recent reading of Kantian aesthetics, providing a complement to a general theory of aesthetic experience, which includes a non-relativistic factor of historicity
Yoko Ono en el marco teórico de la Estética relacional de Nicolas Bourriaud
No full textTreball de fi de grau d'Humanitats. Curs 2016-2017Director: Pol Capdevila Castell
Framing Cinema: The Introduction of Cinema into the Contemporary Art Museum
No full textTreball de fi de grau d'Humanitats. Curs 2015-2016Director: Pol Capdevila i Castell
Aporetic experiences of time in anti-narrative art†
No full textI present art as a potential source of aporetic temporal experiences. The experiences in question are aporetic by virtue of both their anti-narrative quality and their potential to disrupt or short-circuit dominant models of experiencing temporality. I argue that contemporary art shares with earlier artistic trends a critical attitude towards dominant narratives but has its own particular way of dealing with time. In the first section, I frame narratives and temporality within a critical approach in which our current culture is seen as imposing ways of living and thinking through narratives. The focus in this article is on artistic expressions that take a critical stance in this context. In the second section, I sketch a genealogy of anti-narrative artistic phenomena. I explain that while the Avant-gardes played a more experimental role, the art of the sixties was oriented, according to influential art critics and academics, to decoding dominant discourses. In the next section, I discuss current studies in narratives, which open the door to new kinds of narratives other than the classic ones. In Sections 4–6, I show the temporal and anthropological relevance of these new narratives through a rereading of Ricoeur's theory of the complementarity of time and narrative. Through a personal and original interpretation of the Ricoeurian aporetic of time, I argue that we can experience temporality and other aspects of our life—self-identity, moral values, and historical events—outside of consistent narratives, although the experience may be critical or disappointing. Finally, I illustrate this thesis by reference to two contemporary works of art, both shown at Documenta (13)
<b>Worldwide diversity in mammalian life histories: environmental realms and evolutionary adaptations</b>
No full textAll data and scripts required to reproduce the analyses found in "Worldwide diversity in mammalian life histories: Environmental realms and evolutionary adaptations"E. Beccari, P. Capdevila, R. Salguero-Gómez, C. P. Carmona, Ecology LettersURL: https://onlinelibrary.wiley.com/doi/10.1111/ele.14445</p
La productividad del fracaso
No full textResumenEn nuestra sociedad neoliberal e hiperproductiva, el éxito individual se ha convertido en uno de los valores más importantes y codiciados. Los gurús del éxito enseñan que incluso el error y el fracaso se deben emplear como medios para éxitos futuros. Contra esta máquina de subjetividades presuntamente perfectas, cada vez más voces críticas defienden una liberación lúdica y queer en la que el fracaso pueda recobrar sus sentidos propios. Tras el error, el tropiezo y la caída se abre todo un universo en que elementos como lo absurdo, lo inútil y lo contradictorio florecen en todo su esplendor. Hoy en día, algunas prácticas artísticas nos permiten tomar conciencia de los aspectos fundamentales del fracaso. Recorreré a diferentes artistas contemporáneos para describir los diferentes estadios de la reflexión existencial que emerge en condiciones de fracaso. Sus diferentes momentos pasan por la crisis del yo, la recuperación de la dignidad en el reintento, la reflexión sobre la formación de hábitos y normas sociales y la experiencia del estado elemental de la existencia.
Palabras clave: fracaso, Martí Anson, Tere Recarens, Jaume Pitarch, Fermín Jiménez Landa.
AbstractIn our neoliberal, hyper-productive society, individual success has become one of the most important and coveted values. The gurus of success teach that even error and failure should be used as means to future achievements. Against this machine of allegedly perfect subjectivities, more and more critical voices argue for a playful and queer liberation in which failure can regain its own meanings. By failing, stumbling, and falling, a whole universe opens up in which elements such as the absurd, the useless and the contradictory flourish in all their splendor. Today, certain artistic practices allow us to become aware of the fundamental aspects of failure. I will look at different contemporary artists in order to describe the different stages of existential reflection that emerge in conditions of failure. Their different moments pass through the crisis of the self, the recovery of dignity in reattempt, the reflection on the formation of habits and social norms, and the experience of the fundamental state of existence.
Keywords: failure; Martí Anson; Tere Recarens; Jaume Pitarch; Fermín Jiménez Landa
- …
