En este articulo se pretende realizar dos aportes: por una parte, brindar elementos teoricos a los estudios sobre el activismo transnacional, y, por otra con, elementos empiricos al estudio del proceso de reconocimiento de la poblacion afrodescendiente en el caso mexicano. Tomando en cuenta la Encuesta Intercensal 2015 del Instituto Nacional de Estadistica y Geografia (Inegi), alrededor de 1,4% de la poblacion de Mexico es afrodescendiente; alli se observa como este sector se ha organizado a lo largo de los anos para reivindicar su reconocimiento constitucional. A traves de la creacion de una red de defensa que comienza a fortalecerse tanto en el contexto domestico como en el internacional en los ultimos anos, el movimiento afromexicano ha logrado tener reconocimiento politico gracias a una estructura de oportunidades politica internacional abierta y una politica nacional que en el ambito federal ha sido cerrada, mientras que en lo estatal ha mostrado mayor apertura. La incidencia aqui mencionada se logra con el apoyo de actores internacionales o la influencia de eventos internacionales como el ano y el decenio de los afrodescendientes, asi como la Conferencia de Durban
{"title":"Redes de defensa transnacionales frente a estructuras políticas federales. El caso afromexicano","authors":"Bianca Silvia Ramírez Navarro, Claire Wright","doi":"10.21789/25007807.1424","DOIUrl":"https://doi.org/10.21789/25007807.1424","url":null,"abstract":"En este articulo se pretende realizar dos aportes: por una parte, brindar elementos teoricos a los estudios sobre el activismo transnacional, y, por otra con, elementos empiricos al estudio del proceso de reconocimiento de la poblacion afrodescendiente en el caso mexicano. Tomando en cuenta la Encuesta Intercensal 2015 del Instituto Nacional de Estadistica y Geografia (Inegi), alrededor de 1,4% de la poblacion de Mexico es afrodescendiente; alli se observa como este sector se ha organizado a lo largo de los anos para reivindicar su reconocimiento constitucional. A traves de la creacion de una red de defensa que comienza a fortalecerse tanto en el contexto domestico como en el internacional en los ultimos anos, el movimiento afromexicano ha logrado tener reconocimiento politico gracias a una estructura de oportunidades politica internacional abierta y una politica nacional que en el ambito federal ha sido cerrada, mientras que en lo estatal ha mostrado mayor apertura. La incidencia aqui mencionada se logra con el apoyo de actores internacionales o la influencia de eventos internacionales como el ano y el decenio de los afrodescendientes, asi como la Conferencia de Durban","PeriodicalId":297182,"journal":{"name":"Razón Crítica","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129051076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
En este articulo se hace un analisis de la novela interactiva toc: A New Media Novel (2009), del escritor y artista norteamericano Steve Tomasula a partir de las metaforas conceptuales que propone en torno a la temporalidad. A partir de estos tropos temporales, se ofrece una reflexion en torno a las particularidades de la ficcion interactiva, tanto en sus formas narrativas como en su relacion con los soportes tecnologicos en los que se fundamenta. Asi mismo, se propone un acercamiento a la manera en que la semantica cognitiva ha abordado la manera en que los seres humanos conceptualizamos el tiempo, tratando de extender sus analisis basados en el lenguaje verbal al ambito de los medios audiovisuales interactivos
本文分析了美国作家兼艺术家Steve Tomasula的互动小说toc: A New Media Novel(2009)，从他提出的关于时间性的概念隐喻入手。从这些时间的比喻中，我们反思了互动小说的特殊性，包括它的叙事形式以及它与所基于的技术支持的关系。本文提出了认知语义学如何处理人类概念化时间的方法，试图将其基于语言的分析扩展到互动视听媒体领域。
{"title":"Cronomosaicos: metáforas espaciales del tiempo en la novela hipermedia TOC, de Steve Tomasula","authors":"Juan Alberto Conde","doi":"10.21789/25007807.1442","DOIUrl":"https://doi.org/10.21789/25007807.1442","url":null,"abstract":"En este articulo se hace un analisis de la novela interactiva toc: A New Media Novel (2009), del escritor y artista norteamericano Steve Tomasula a partir de las metaforas conceptuales que propone en torno a la temporalidad. A partir de estos tropos temporales, se ofrece una reflexion en torno a las particularidades de la ficcion interactiva, tanto en sus formas narrativas como en su relacion con los soportes tecnologicos en los que se fundamenta. Asi mismo, se propone un acercamiento a la manera en que la semantica cognitiva ha abordado la manera en que los seres humanos conceptualizamos el tiempo, tratando de extender sus analisis basados en el lenguaje verbal al ambito de los medios audiovisuales interactivos","PeriodicalId":297182,"journal":{"name":"Razón Crítica","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131695861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Este estudio pretende analizar la construccion del metodo paranoico-critico de Salvador Dali. Se desarrollara un analisis que pone en evidencia la experimentacion que lo llevo a buscar nuevas formas de expresion para la implementacion de este metodo en diferentes practicas fuera de la pintura, especialmente en el cine. Parte de esta experimentacion resalta el esfuerzo de tratar de simular esas imagenes paranoico-criticas a traves del acercamiento a la fotografia, holografia y el cine, y veremos como estas no se vieron del todo realizadas. El interes de este texto es poner en evidencia que las limitaciones que encontro Dali desaparecen con la imagen digital, y es por esto que teorizamos que en el actual contexto, tenemos la posibilidad de crear una paranoia critica en movimiento. Para esto se va a examinar la naturaleza euclidiana de la representacion pictorica y su extension a la camara oscura, la aparicion de nuevos espacios en el cine, las caracteristicas del medio digital, su respectiva transicion a traves de la tecnologia de video, un analisis de las implicaciones del movimiento en la imagen y la construccion conceptual de la paranoia en movimiento.
{"title":"Paranoia en movimiento: la posibilidad del método paranoico-crítico en la cinematografía gracias a la era digital","authors":"Cristina Crane","doi":"10.21789/25007807.1447","DOIUrl":"https://doi.org/10.21789/25007807.1447","url":null,"abstract":"Este estudio pretende analizar la construccion del metodo paranoico-critico de Salvador Dali. Se desarrollara un analisis que pone en evidencia la experimentacion que lo llevo a buscar nuevas formas de expresion para la implementacion de este metodo en diferentes practicas fuera de la pintura, especialmente en el cine. Parte de esta experimentacion resalta el esfuerzo de tratar de simular esas imagenes paranoico-criticas a traves del acercamiento a la fotografia, holografia y el cine, y veremos como estas no se vieron del todo realizadas. El interes de este texto es poner en evidencia que las limitaciones que encontro Dali desaparecen con la imagen digital, y es por esto que teorizamos que en el actual contexto, tenemos la posibilidad de crear una paranoia critica en movimiento. Para esto se va a examinar la naturaleza euclidiana de la representacion pictorica y su extension a la camara oscura, la aparicion de nuevos espacios en el cine, las caracteristicas del medio digital, su respectiva transicion a traves de la tecnologia de video, un analisis de las implicaciones del movimiento en la imagen y la construccion conceptual de la paranoia en movimiento.","PeriodicalId":297182,"journal":{"name":"Razón Crítica","volume":"213 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133946453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El museo representa un punto de interseccion entre una serie de redes y una serie de relaciones, las cuales convergen y modelan la practica museistica. Disciplinas como la historia, la historia del arte, la arqueologia, la antropologia y la historia natural han servido para generar un nuevo marco que permita comprender y, a su vez, extender la practica museistica a una audiencia aun mas amplia. A traves de mecanismos pedagogicos y de entretenimiento se ha tratado de incluir al mayor numero posible de ciudadanos a la practica museistica. Dicho en otras palabras, se ha tratado, progresivamente, de llevar al museo a un terreno mas alla del de las tradicionales clases sociales que historicamente se han beneficiado de el. Esto implica, sin lugar a dudas, la salida de la practica museistica del sitio exclusivo que ocupa en la alta burguesia y, por lo tanto, la retirada del museo de una esfera social que, en las democracias liberales, habia ostentado el poder de decision politica. Alejandose de dicha clase social, el museo se tendria que acercar a una audiencia popular.
{"title":"Reseña. De “The Exhibitionary Complex” (1988) a “Thinking (with) Museums: From Exhibitionary Complex to Governmental Assemblage” (2015) de Tony Bennett. Una mirada a la práctica museística","authors":"Giulia Cordin","doi":"10.21789/25007807.1449","DOIUrl":"https://doi.org/10.21789/25007807.1449","url":null,"abstract":"El museo representa un punto de interseccion entre una serie de redes y una serie de relaciones, las cuales convergen y modelan la practica museistica. Disciplinas como la historia, la historia del arte, la arqueologia, la antropologia y la historia natural han servido para generar un nuevo marco que permita comprender y, a su vez, extender la practica museistica a una audiencia aun mas amplia. A traves de mecanismos pedagogicos y de entretenimiento se ha tratado de incluir al mayor numero posible de ciudadanos a la practica museistica. Dicho en otras palabras, se ha tratado, progresivamente, de llevar al museo a un terreno mas alla del de las tradicionales clases sociales que historicamente se han beneficiado de el. Esto implica, sin lugar a dudas, la salida de la practica museistica del sitio exclusivo que ocupa en la alta burguesia y, por lo tanto, la retirada del museo de una esfera social que, en las democracias liberales, habia ostentado el poder de decision politica. Alejandose de dicha clase social, el museo se tendria que acercar a una audiencia popular.","PeriodicalId":297182,"journal":{"name":"Razón Crítica","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130151572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The enactment of 1991 Political Constitution led to structural changes in the concept of family in Colombia during the last decades, incorporating an inclusive, diverse, and respectful approach. As a result, several constitutional acts have broaden the scope of this concept, establishing that a family is created when human beings freely decide to develop a life project together, regardless the contractual model of such union. This paper will study the legal doctrine and some constitutional acts that have been essential in the transformation process of the concept of family in Colombian civil legislation. Moreover, reference will be made to the challenges that family law must assume on the way to understand this concept and the protection of personal and economic relationships. Our work will defend the understanding of a family as a type of association in which the values and motivations of its members –who coincide in their way of seeing life, and therefore gather around the construction of a common project– make solidarity and affection prevail.
{"title":"Percepciones doctrinales y algunas jurisprudenciales sobre el concepto de familia","authors":"Julie Marcela Daza Rojas","doi":"10.21789/25007807.1453","DOIUrl":"https://doi.org/10.21789/25007807.1453","url":null,"abstract":"The enactment of 1991 Political Constitution led to structural changes in the concept of family in Colombia during the last decades, incorporating an inclusive, diverse, and respectful approach. As a result, several constitutional acts have broaden the scope of this concept, establishing that a family is created when human beings freely decide to develop a life project together, regardless the contractual model of such union. This paper will study the legal doctrine and some constitutional acts that have been essential in the transformation process of the concept of family in Colombian civil legislation. Moreover, reference will be made to the challenges that family law must assume on the way to understand this concept and the protection of personal and economic relationships. Our work will defend the understanding of a family as a type of association in which the values and motivations of its members –who coincide in their way of seeing life, and therefore gather around the construction of a common project– make solidarity and affection prevail.","PeriodicalId":297182,"journal":{"name":"Razón Crítica","volume":"123 7-8","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120890451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Photochemical representation technologies coincided with the development of the telegraph, a true externalization of the central nervous system. The configuration of electrical impulses for the exchange of information emerged in the same period, leading to the development of a new communication system; a non-centric system that would liberate humanity from a hierarchical communicative regime. The new informative formula –based on the free-and-direct hypothetical interaction between individuals– was strengthened when the network structure, exemplified by interoceanic cables, made use of the cinematographic image and its halo of objectivity. It is in such a context, and under the same remediation conjugated by the telegraph and the cinematographic image, that we observe the emergence of narratives expressed through certain database aesthetics. In this essay we will study, among other subjects, Dziga Vertov’s work and his interest in developing a system in which meaning is produced in an open and free fashion as part of the global interconnection allowed by an electrical network. We will see how narratives during the electric age progressively began to be exclusively based on motion pictures. We will also analyze how Georges Melies realized a system of social relations of entertainment and information, as well as the way in which this great illusionist articulated both film and telegraphy technologies in order to set in motion a social information network based on representations of reality; in other words, a society of the spectacle.
{"title":"Narrativa y estética de la database","authors":"L. Fattori","doi":"10.21789/25007807.1446","DOIUrl":"https://doi.org/10.21789/25007807.1446","url":null,"abstract":"Photochemical representation technologies coincided with the development of the telegraph, a true externalization of the central nervous system. The configuration of electrical impulses for the exchange of information emerged in the same period, leading to the development of a new communication system; a non-centric system that would liberate humanity from a hierarchical communicative regime. The new informative formula –based on the free-and-direct hypothetical interaction between individuals– was strengthened when the network structure, exemplified by interoceanic cables, made use of the cinematographic image and its halo of objectivity. It is in such a context, and under the same remediation conjugated by the telegraph and the cinematographic image, that we observe the emergence of narratives expressed through certain database aesthetics. In this essay we will study, among other subjects, Dziga Vertov’s work and his interest in developing a system in which meaning is produced in an open and free fashion as part of the global interconnection allowed by an electrical network. We will see how narratives during the electric age progressively began to be exclusively based on motion pictures. We will also analyze how Georges Melies realized a system of social relations of entertainment and information, as well as the way in which this great illusionist articulated both film and telegraphy technologies in order to set in motion a social information network based on representations of reality; in other words, a society of the spectacle.","PeriodicalId":297182,"journal":{"name":"Razón Crítica","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116915189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El texto sobre la narracion fractal, Fractal Narrative. About the Relationship Between Geometries and Technology and Its Impact on Narrative Spaces (2014) entra en su quinto ano de vida, y, si bien en nuestro contexto tecnologico las trasformaciones sociales parecen escaparse de una obsoleta duree bergsoniana, algunos fenomenos expuestos en el texto siguen, a mi parecer, en continuo desarrollo. Recordando, por una parte, el proceso que me llevo a teorizar sobre la narracion fractal y, por otra, el contexto tecnologico que me permitio evidenciar la naturaleza fractal de la narracion audiovisual contemporanea, puedo constatar que, con la implementacion del HTML5 y con la subsecuente asimilacion de la multidimensionalidad del World Wide Web, el espacio fractal que diariamente habitamos y que hace cinco anos se intuia inminente es hoy una realidad que se expande y abarca cada dia mas acciones humanas.
关于分形叙事的文本，分形叙事。About the Relationship Between Geometries and Technology and Its Impact on Narrative Spaces(2014)第五次肛门走进他的生活,虽然在我们的情况下,环境署社交trasformaciones看上去摆脱陈旧duree bergsoniana一些fenomenos暴露在笔者会跟着文本,不断发展。进程,一方面回顾我带形各异narracion问题和另一方面,环境署背景permitio我真挚的视听narracion contemporanea形性质,能确定,与实施HTML5和岗位asimilacion多方面的万维网(World Wide Web)我们每天居住的分形空间，五年前似乎迫在眉睫，现在是一个现实，每天都在扩展和包含更多的人类行为。
{"title":"Editorial. Fractus, fracta, fractum. La indeterminación de la imagen y su relación con el acto narrativo en la era digital","authors":"German Duarte","doi":"10.21789/25007807.1445","DOIUrl":"https://doi.org/10.21789/25007807.1445","url":null,"abstract":"El texto sobre la narracion fractal, Fractal Narrative. About the Relationship Between Geometries and Technology and Its Impact on Narrative Spaces (2014) entra en su quinto ano de vida, y, si bien en nuestro contexto tecnologico las trasformaciones sociales parecen escaparse de una obsoleta duree bergsoniana, algunos fenomenos expuestos en el texto siguen, a mi parecer, en continuo desarrollo. Recordando, por una parte, el proceso que me llevo a teorizar sobre la narracion fractal y, por otra, el contexto tecnologico que me permitio evidenciar la naturaleza fractal de la narracion audiovisual contemporanea, puedo constatar que, con la implementacion del HTML5 y con la subsecuente asimilacion de la multidimensionalidad del World Wide Web, el espacio fractal que diariamente habitamos y que hace cinco anos se intuia inminente es hoy una realidad que se expande y abarca cada dia mas acciones humanas.","PeriodicalId":297182,"journal":{"name":"Razón Crítica","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115443930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Two themes can be found in Jafar Panahi’s acclaimed cinematography (1960): the exposition of contradictions within Iranian society and the questioning of the cinematographic device. Both issues have been continuously addressed in the last decade, despite the prohibition over film directing imposed by the ayatollahs. This has been possible, to a large extent, thanks to the opportunities offered by the digitalization of the recording and the distribution methods of audiovisual material. In films such as This is not a film (2011) and Ta x i (2015), Panahi continues with the examination of cinematographic conventions that he began in The Mirror (1997), and invites to see a film that “is made by itself ”, that is, a device that works without the involvement of a conscious director or narrator, but by the actions of a cameraman (who does not accept instructions) or the operation of an artifact (the camera in the cab of the taxi or in the cell phone of one of the passengers). In this way, Panahi avoids government censorship, while making evident certain features of audiovisual narration in the context of digitalization and new technologies.
{"title":"Los subterfugios digitales de Jafar Panahi","authors":"Bértold Salas Murillo","doi":"10.21789/25007807.1448","DOIUrl":"https://doi.org/10.21789/25007807.1448","url":null,"abstract":"Two themes can be found in Jafar Panahi’s acclaimed cinematography (1960): the exposition of contradictions within Iranian society and the questioning of the cinematographic device. Both issues have been continuously addressed in the last decade, despite the prohibition over film directing imposed by the ayatollahs. This has been possible, to a large extent, thanks to the opportunities offered by the digitalization of the recording and the distribution methods of audiovisual material. In films such as This is not a film (2011) and Ta x i (2015), Panahi continues with the examination of cinematographic conventions that he began in The Mirror (1997), and invites to see a film that “is made by itself ”, that is, a device that works without the involvement of a conscious director or narrator, but by the actions of a cameraman (who does not accept instructions) or the operation of an artifact (the camera in the cab of the taxi or in the cell phone of one of the passengers). In this way, Panahi avoids government censorship, while making evident certain features of audiovisual narration in the context of digitalization and new technologies.","PeriodicalId":297182,"journal":{"name":"Razón Crítica","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133564112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Taking into account the importance of repetition in minimalism and the frequency in the reiterative use of musical motifs in classical forms, this essay tries first to establish a genealogy of repetition throughout the history of music to later explore how recursive forms find their greatest expression in minimalism. We will carry out an analysis on notation, calligraphy and musical grammar, and study the way in which these elements deeply changed during the technological acceleration of the second industrial revolution. We will also see how these transformations allowed a reformulation of musical notation and the definition of music itself. In the last part of this essay, based on the theory of fractal narration by German A. Duarte, we will propose an analysis of the most characteristic works of minimalism in music and address how minimal music shapes fractal spaces.
{"title":"La configuración de espacios fractales en la música minimalista","authors":"Diego Franco","doi":"10.21789/25007807.1451","DOIUrl":"https://doi.org/10.21789/25007807.1451","url":null,"abstract":"Taking into account the importance of repetition in minimalism and the frequency in \u0000the reiterative use of musical motifs in classical forms, this essay tries first to establish a \u0000genealogy of repetition throughout the history of music to later explore how recursive \u0000forms find their greatest expression in minimalism. We will carry out an analysis on \u0000notation, calligraphy and musical grammar, and study the way in which these elements \u0000deeply changed during the technological acceleration of the second industrial \u0000revolution. We will also see how these transformations allowed a reformulation of \u0000musical notation and the definition of music itself. In the last part of this essay, based on \u0000the theory of fractal narration by German A. Duarte, we will propose an analysis of the \u0000most characteristic works of minimalism in music and address how minimal music shapes \u0000fractal spaces.","PeriodicalId":297182,"journal":{"name":"Razón Crítica","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114904317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Square (2017) is a film by Ruben Ostlund in which he ironically criticizes the state of the individual in modern society. Ruben Ostlund developed the film under the influence of the Enlightenment philosophy, therefore showing a special focus on reason. Using some concepts by Jean Baudrillard, Arthur Danto and Donald Kuspits In, our study of this film will highlight that contemporary art has lost its meaning, becoming a product and a consumption object. In addition, we will analyze the relationship between the Enlightenment, the individual and his current forms, taking as point of reference concepts explained by Max Horkheimer and Pankaj Mishra.
{"title":"Man in the Square: una parodia del individuo moderno","authors":"Gül Yaşartürk, Rana İğneci Süzen","doi":"10.21789/25007807.1450","DOIUrl":"https://doi.org/10.21789/25007807.1450","url":null,"abstract":"The Square (2017) is a film by Ruben Ostlund in which he ironically criticizes the state of the individual in modern society. Ruben Ostlund developed the film under the influence of the Enlightenment philosophy, therefore showing a special focus on reason. Using some concepts by Jean Baudrillard, Arthur Danto and Donald Kuspits In, our study of this film will highlight that contemporary art has lost its meaning, becoming a product and a consumption object. In addition, we will analyze the relationship between the Enlightenment, the individual and his current forms, taking as point of reference concepts explained by Max Horkheimer and Pankaj Mishra.","PeriodicalId":297182,"journal":{"name":"Razón Crítica","volume":"8 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120887959","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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