Arte Dialógico

Interculturalidad, arte y realidad compleja
Prof. Mario Arenas Navarrete
Universidad de La Serena.
Contacto: marenas@userena.cl
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Dialogic Art is a site that aims to contribute through the collection of academic papers submitted by users or downloaded from official sites, to reflect on theoretical aspects of the arts and its philosophical, aesthetic, semiotic, sociological, public policy, etc. context. . The emphasis of these approaches recognize contemporary society as complex and impossible to be told within a single historical direction; impossible to maintain the uniqueness of a single narrative, which provided for an absence, a negation of Latin American Art, which denied his involvement as an active member of international culture, based on their perceived center. Hence, their expressions, are still considered an unfulfilled, secondary, fragile, uncertain, and often lacking a particularity and a visual modernity itself. However, although it is producing since the late twentieth century a shift in these universalist conceptions, art, and particularly Latin American music come in globalized spaces of artistic internationalism properly, there is still a long way to go before these trends epochal are absorbed by our environment.

On the other hand, points to a Dialogic Art auditor-observer dynamic, autonomous and capable of agency. Active participant of the expressive function that the work invites, challenges the interelacionar's gaze to the author or, conversely, the author creates his work unfinished whose completeness knowing it will occur with the arrival of other legitimate subjects and own idiolects, cronolectos, sociolects to express .. This dialogic openness of the work with the complementary-active observer also opens a space for breaking boundaries that start in sameness. The incompleteness leaves a space open to the other, but not any space, similar to the emergence of a flower to be pollinated, constitutes a project and neglects the Hegelian immanence and permanent constructs, fetish submits to interpreter fit a whole in which it is constituted. While in this context the author had no obligations epochal caráter, denotes the Dialogic Art exhibits its mutability, finitude, temporality and incompleteness; displays such a reality that no longer signified as inexorable; now shown by giving explicit, concrete possibility to overcome the factual, articulating the past with the present and the impossible.

. Crossing borders artists, audit, dynamic observers leads to the construction of future ethos, but open to other unknown and valid. Since sameness development appeals to a negotiated intersubjectivity and thence otherness, entering fully into the scientific field of multiculturalism. An intercultural not referring exclusively to subjects belonging to different cultural patterns clear, but particularly those that occur even in the most homogeneous groups considered.

Its ultimate purpose then, is directed toward communication, the crossing of borders between different sectors, ghettos and splits of reality. The complex is inclusive look at the expressive, but, particularly, leads to dialogic instances. Dialogic art comprising a path supported by a dynamic subject that is not submerged in its ontology, but on the contrary, escapes through its focus on one another. Alterity eventually leads him to participate in a new, complex, difficult but at the same time, fully realized.

This complete the subject correctly in an intersubjectivity with a different and legitimate, it smells different, speaking different and this one starts with a path to a new ethos based on the aesthetic pathos and logos.

The pedagogical approach is then through dialogic artifacts in open borders of subjectivity and in specific areas of educational institutions, so that children and youth encounters occur, prioritizing those that are further away in social, cultural and economic fields. Generating new ethos constitutes a sociological value, an epochal feeling finished by winning new scenarios.

 

Artefactos Dialógicos

(Revista Actualidades investigativas en Educación, Universidad de Costa Rica)

Desde la Composición musical hasta el Arte Sonoro (Revista "Resonancias" PUC.)

Arpa Eólica del Embalse Puclaro.

 

 

pyt

Software Punto y Tono

(Descarga gratuita)

Nota: Windows desconoce el editor de este programa (fue programado en Borland Delphi 3) por ello, aparecerá una ventana advirtiendo que podría ser peligroso para vuestro equipo. Sin embargo, es absolutamente fiable. ¡Disfrútenlo!

 

 

Dialogic Art is a site that aims to contribute through the collection of academic papers submitted by users or downloaded from official sites, to reflect on theoretical aspects of the arts and its philosophical, aesthetic, semiotic, sociological, public policy, etc. context. . The emphasis of these approaches recognize contemporary society as complex and impossible to be told within a single historical direction; impossible to maintain the uniqueness of a single narrative, which provided for an absence, a negation of Latin American Art, which denied his involvement as an active member of international culture, based on their perceived center. Hence, their expressions, are still considered an unfulfilled, secondary, fragile, uncertain, and often lacking a particularity and a visual modernity itself. However, although it is producing since the late twentieth century a shift in these universalist conceptions, art, and particularly Latin American music come in globalized spaces of artistic internationalism properly, there is still a long way to go before these trends epochal are absorbed by our environment.

On the other hand, points to a Dialogic Art auditor-observer dynamic, autonomous and capable of agency. Active participant of the expressive function that the work invites, challenges the interelacionar's gaze to the author or, conversely, the author creates his work unfinished whose completeness knowing it will occur with the arrival of other legitimate subjects and own idiolects, cronolectos, sociolects to express .. This dialogic openness of the work with the complementary-active observer also opens a space for breaking boundaries that start in sameness. The incompleteness leaves a space open to the other, but not any space, similar to the emergence of a flower to be pollinated, constitutes a project and neglects the Hegelian immanence and permanent constructs, fetish submits to interpreter fit a whole in which it is constituted. While in this context the author had no obligations epochal caráter, denotes the Dialogic Art exhibits its mutability, finitude, temporality and incompleteness; displays such a reality that no longer signified as inexorable; now shown by giving explicit, concrete possibility to overcome the factual, articulating the past with the present and the impossible.

. Crossing borders artists, audit, dynamic observers leads to the construction of future ethos, but open to other unknown and valid. Since sameness development appeals to a negotiated intersubjectivity and thence otherness, entering fully into the scientific field of multiculturalism. An intercultural not referring exclusively to subjects belonging to different cultural patterns clear, but particularly those that occur even in the most homogeneous groups considered.

Its ultimate purpose then, is directed toward communication, the crossing of borders between different sectors, ghettos and splits of reality. The complex is inclusive look at the expressive, but, particularly, leads to dialogic instances. Dialogic art comprising a path supported by a dynamic subject that is not submerged in its ontology, but on the contrary, escapes through its focus on one another. Alterity eventually leads him to participate in a new, complex, difficult but at the same time, fully realized.

This complete the subject correctly in an intersubjectivity with a different and legitimate, it smells different, speaking different and this one starts with a path to a new ethos based on the aesthetic pathos and logos.

The pedagogical approach is then through dialogic artifacts in open borders of subjectivity and in specific areas of educational institutions, so that children and youth encounters occur, prioritizing those that are further away in social, cultural and economic fields. Generating new ethos constitutes a sociological value, an epochal feeling finished by winning new scenarios.