glosario
mak 2014
en construcción: glosario mínimo – conceptos y bibliografía
CONCEPTOS FILOSOFÍA
positivismo
Consiste en no admitir como validos científicamente otros conocimientos, sino los que proceden de la experiencia, rechazando, por tanto, toda noción a priori y todo concepto universal y absoluto. El hecho es la única realidad científica, y la experiencia y la inducción, los métodos exclusivos de la ciencia. Por su lado negativo, el positivismo es negación de todo ideal, de los principios absolutos y necesarios de la razón, es decir, de la metafísica.
http://www.azc.uam.mx/csh/sociologia/sigloxx/positivismo.htm
http://www.eumed.net/cursecon/libreria/rgl-evol/2.4.3.htm
http://filosofia.idoneos.com/positivismo/
existencialismo
http://filosofia.idoneos.com/existencialismo/
teoría crítica
http://filosofia.idoneos.com/escuela_de_francfort/teoria_critica/
http://filosofia.idoneos.com/escuela_de_francfort/
CONCEPTOS ECONOMÍA
capitalismo
http://www.eumed.net/cursecon/1/el_capitalismo.htm
imperialismo
http://www.eumed.net/cursecon/dic/bzm/i/imperialismo.htm
colonialismo
política de los estados capitalistas económicamente más desarrollados orientada hacia la esclavización y la explotación de los pueblos de países atrasados en el aspecto económico. El colonialismo surgió y se desarrolló al surgir y desenvolverse el modo capitalista de producción. Hacia finales del siglo XIX, el capitalismo, al pasar al imperialismo, se convirtió en un sistema de opresión colonial que abarcaba todo el mundo; un puñado de países “avanzados”, industrialmente desarrollados sojuzgaba con su poderío financiero a la abrumadora mayoría de la población de la Tierra.
http://www.eumed.net/cursecon/dic/bzm/c/colonialismo.htm
marxismo
Entenderemos por «marxismo» a la teoría científica que expresa los intereses históricos revolucionarios del proletariado como clase social. Su producción va a estar condicionada por la existencia de esta clase cuyos intereses históricos van a pasar por la supresión de toda forma de explotación. Será el punto de vista proletario, aún no fundado científicamente, de Carlos Marx y Federico Engels el que les permitirá producir esta teoría apoyándose, pero a !a vez rompiendo con ellos, en los logros de la economía política clásica, la filosofía alemana y el socialismo francés.
http://www.portalplanetasedna.com.ar/marxismo.htm
http://filosofia.idoneos.com/marxismo/
socialismo
http://www.eumed.net/cursecon/dic/bzm/s/socialismo.htm
liberalismo
http://www.eumed.net/diccionario/definicion.php?dic=3&def=373
CONCEPTOS ARTE
socialrealismo
expresionismo
Haz clic para acceder a ARTH208-3.4.1-Expressionism.pdf
vanguardismo
expresionismo abstracto
modernismo
semiótica
neovanguardismo
minimalismo
estructuralismo
http://filosofia.idoneos.com/estructuralismo/
http://www.razonypalabra.org.mx/n63/varia/LBeltran.html
formalismo
conceptualismo
feminismo
posmodernismo
http://es.wikipedia.org/wiki/Posmodernidad
Postmodernism/Postmodernity is associated with an awareness of societal and cultural transitions after World War II and the rise of mass-mediated consumerist popular culture in the 1960s-1970s. Interpreters of this era describe the kinds of cultural hybrids that emerge from mixing (or rendering inoperative) the categories of «high» and «low» cultures, and hybrids in cultural forms that have developed in regions where local identities seek definition against, or in dialog with, Western «hegemonic» cultures (the mixing of «official» cultures and those defined as «other» in modernist ideologies). Postmodern views of history and national identity typically cancel a commitment to modern «master narratives» or «metanarratives» like progress and goal-directed history, and disrupt myths of national and ethnic identities as «natural» foundations of «unity.»
Complicating the study of «postmodernism» is the wide range of terms and assumptions in statements and arguments from different schools of thought and movements in the arts. In all the discourse, we need to differentiate the terms and concepts of the postmodern (as a condition of a historical era) or postmodernity (as simply what we are in whether we know it or not), and postmodernism (reflected in movements with varying levels of intention and self-awareness),
When interpreters of culture discuss postmodern strategies or features in architecture, literature, philosophy, and the arts, this usually includes uses of irony, parody, sampling, mixing «high» and «low» (popular) cultural sources, horizontal vs. vertical analysis, and mixing historical and cultural sources and styles. The view that cultural hierarchies (high/low; official/local; dominant culture/subcultures) are unstable and constructed and that history is not a source of authority underlies the creation of many forms of pastiche (combinations from unrelated sources), collage, parody, and nostalgic stylization where earlier, historically situated styles are abstracted and imitated as stylization.
Some scholars see the macro context of «the postmodern condition» within functions of globalization and the information/network society. The global economic system since the 1960s has moved toward the international merging of cultures and the global marketing of cultural goods.
Many see the features of postmodernism that are associated with the self-reflexive critique of society, culture, politics, and economics as already part of modernism, and thus an extension of «modernism.» But whatever the phase of «modernity» we accept now includes abandoning the hope or belief in the necessary progressive movement of history toward a goal, an end, a fulfillment.
The post-postmodern viewpoint (wherever we are today after having absorbed the issues in postmodernism) seems to be taking the «postmodern condition» (postmodernity) as a given and creating new remixed works disassociated from the modern-postmodern arguments and oppositions. The post-postmodern takes the «always already» mixed condition of sources, identities, and new works as a given, not a question or problem. The metaphors of «network» and «convergence» in creative subcultures (e.g., musicians, artists, designers, writers) are seen to be live operations or conditions received and re-performed, not just abstractions. From this more recent perspective, living in remixed hybridity is thus obligatory, not a choice, since it is the foundation for participating in a living, networked, globally connected culture.
We could also argue that the terms in the discourses about the postmodern are no longer useful, or need to be redefined to be useful for today. Either way, the point is thinking through the problems and seeing if there are terms that do useful cultural work for us.
http://faculty.georgetown.edu/irvinem/theory/pomo.html
Readings
http://www.ihabhassan.com/postmodernism_to_postmodernity.htm
http://en.wikipedia.org/wiki/Postmodernity
http://faculty.georgetown.edu/irvinem/CCTP725/CCTP725-syllabus.html
Martin Irvine
cct.georgetown.edu/irvine
Communication, Culture & Technology Program (CCT)
Georgetown University
irvinem@georgetown.edu
© 2005-2014
posestructuralismo
neoliberalismo
http://www.eumed.net/libros-gratis/2008a/371/
poscolonialismo
La teoría poscolonial, trata de un conjunto de teorías que lidian con el legado de la colonización británica y francesa durante el siglo XIX o española y portuguesa desde el siglo XVI hasta el XIX. Como teoría literaria, o postura crítica, trata la literatura producida en países que fueron o son aún colonias de otros países. También analiza los efectos del conocimiento producido en los países colonizadores sobre los países colonizados, o sus habitantes. La teoría poscolonial formó parte de las herramientas críticas de los años 1980. Esta trata muchos aspectos de las sociedades que han sufrido el colonialismo: el dilema de constituir una identidad nacional al despertar del yugo colonial, la manera en la que los escritores de países colonizados intentan articularse e incluso celebrar sus identidades culturales y reclamarlas a los colonizadores, los modos en que el conocimiento de los países colonizadores ha coadyuvado a elaborar una determinada subjetividad en los colonizadores (la perpetuación de las imágenes de los colonizados como seres inferiores), pero también el modo en que ese conocimiento ha generado también revueltas anticoloniales.
http://es.wikipedia.org/wiki/Poscolonialismo
critica_poscolonial
posindustrial
posfotográfico
Photography is How We See, and is Always Encoded in Specific Genre Frames
We never experience «photography» (in the abstract): we experience photographs, specific kinds of photographs (genres) framed by their uses and reception contexts (social and material). After around 150 years of being socialized into ways of seeing with photographs (and all lens based media, including film and video), and before that, becoming «optical» since the 15th century through paintings and drawings made with optical aids (lenses, camera obscura, mirrors), we arrive at an important social-technical intersection with digital photography. We have to learn how to look at photographs as social and cultural forms of representation to see how they work, and how we see and think «photographically».
The genres and functions of the photograph have continued through many technical shifts: the iPhone and inexpensive digital cameras have confirmed Bourdieu’s view of «the middle brow art form» in the millions of family and personal snapshots taken everyday, records of highly ritualized events, poses, contexts, views that conform to learned beliefs about what’s pictorial, a portrait, the camera-moment.
From optics to pixel grid:
Photography has always been developed from hybridizing/new combinations of technologies and methods: the invention of photography involved optics (lenses) + chemistry + material support = photographic image.
Since the introduction of digital photography and the digital darkroom (Photoshop), we have seen a shift in thinking about/with photographic images: from what the lens «sees» (principles of optics, focus, perspective, light sources), and metaphors of capturing, registering, mechanical means to what a screen can display (digital pixels, imitation of camera lens point-of-view, focus, and perspective).
Now many images are made to look photographic, and are still called «photographs,» whether no lenses or many lenses, were used in the making of the image.
The «photograph» is an idea, an image category, before it is instantiated in any material form.
Intersections of technologies and institutions:
Photography has always been linked to developments in technology for the film medium and cameras as optical light capturing devices. But the interesting history is found in the many conceptual uses of photography, the institutions and social organization of the medium, and the mass adoption of cameras in the middle class for «taking pictures» of family and domestic life.
What important ideas can we extrapolate from the social and technical history of photography, from early cameras to digital cameras and camera phones (iPhone)?
Post-Photographic Era: The Era of Ubiquitous Photography and the Digital Object
Some observers and theorists of photography and film are talking about our current era being «post-photographic»: we live in a culture trained to read photo-produced images (and images as judged or assumed to live up to photographic expectations), yet many of the images we experience every day imitate photographic features without being produced by (or solely by) a device with a lens and recording medium. What is the status of the photograph as a digital object?
What are the implications of living «post-photographic»? Is this an extension of the notion of the hyper-real? With photographic «realism» still providing the codes for «the real»? –
http://faculty.georgetown.edu/irvinem/CCTP725/CCTP725-syllabus.html
http://faculty.georgetown.edu/irvinem/
Martin Irvine
cct.georgetown.edu/irvine
irvinem@georgetown.edu
© 2007-2012
posdigital
posinternet
This understanding of the post-internet refers not to a time “after” the internet, but rather to an internet state of mind — to think in the fashion of the network. In the context of artistic practice, the category of the post-internet describes an art object created with a consciousness of the networks within which it exists, from conception and production to dissemination and reception.
poshegemónico
Vivimos tiempos poshegemónicos: la ideología ha dejado de ser la fuerza motriz de la política y la teoría de la hegemonía ya no refleja con exactitud el orden social actual. La crítica ideológica –es decir, el análisis de los discursos en busca de distorsiones producidas por efecto de operaciones ideológicas–, se ha vuelto superflua. Esto, al menos, es lo que Jon Beasley-Murray plantea en este apasionante libro, basado en el análisis y la crítica de los discursos culturales. A partir de una minuciosa investigación histórica de los movimientos políticos latinoamericanos del siglo XX –desde el populismo clásico a los movimientos nacionales de liberación, las nuevas corrientes sociales e, incluso, las relaciones entre cultura y política que ellos encarnan–Beasley-Murray desgrana tres aspectos fundamentales del concepto de poshegemonía: el afecto (examinado desde la perspectiva de Gilles Deleuze), el hábito (derivado de la noción de habitus de Pierre Bourdieu) y la multitud (noción tomada de Antonio Negri). Para aquellos interesados en los estudios culturales y en las ciencias sociales, pero antes y sobre todo en América Latina, Poshegemonía propone un fascinante recorrido para el cual el autor efectuó un profundo trabajo de campo en El Salvador, Perú, Chile, Argentina y Venezuela, por un lado, y en aquellos lugares donde habitualmente desarrolla su labor profesional: Canadá, Inglaterra, Irlanda y Estados Unidos, por el otro.
Del libro: «Poshegemonía , Teoría política y América Latina», Jon Beasley-Murray, Paidos 2010
http://www.academia.edu/874004/Poshegemon%C3%ADa_Teor%C3%ADa_pol%C3%ADtica_y_Am%C3%A9rica_Latina
fotografía peruana /peruvian photography 
Deja una respuesta