Keynote Address by Karim Rashid

Karim Rashid is one of the most prolific designers of his generation. Over 3000 designs in production, over 300 awards and working in over 35 countries attest to Karim’s legend of design. Karim’s diversity affords him the ability to cross-pollinate ideas, materials, behaviors, aesthetics from one typology to the next, crossing boundaries and broadening consumer horizons. His award winning designs include democratic objects such as the ubiquitous Garbo waste can and Oh Chair for Umbra, interiors such as the Morimoto restaurant, Philadelphia and Semiramis hotel, Athens and exhibitions for LG Hausys and Audi. Karim has collaborated with clients to create democratic design for Method and Dirt Devil, furniture for Artemide and Magis, brand identity for Citibank and Hyundai, high tech products for LaCie and Samsung, and luxury goods for Veuve Clicquot and Swarovski, to name a few. Karim has recently been selected to design several real estate developments in New York City for HAP Investments, a New York City based International investment group. Karim’s work is featured in 20 permanent collections and he exhibits art in galleries world wide. Karim is a perennial winner of the Red Dot award, Chicago Athenaeum Good Design award, I.D. Magazine Annual Design Review, IDSA Industrial Design Excellence award. He holds honorary doctorates from the Ontario college of Art & Design and Corcoran College of Art & Design. 2011 highlighted Karim’s largest retrospective to date at the Triennale, in Milan, Italy. Karim is a frequent guest lecturer at universities and conferences globally disseminating the importance of design in everyday life. Karim has been featured in magazines including Time, Financial Times, NY Times, Esquire, GQ and countless more. His books include From the Beginning, Forma Edizioni (2014), Sketch, Frame (2012), a monograph of 300 drawings and computer renderings of selected works, KarimSpace, Rizzoli (2009), Design Your Self, Harper Collins (2006), Evolution, Rizzoli (2004) and I Want to Change the World, Universe (2001). In his spare time Karim’s pluralism flirts with art, fashion, and music and is determined to creatively touch every aspect of our physical and virtual landscape.

Écfrasis y Lecturas Icono-textuales en las "Leyendas" de Gustavo Adolfo Bécquer

The relationship between literature and the visual arts is ancient and it has been studied from different conceptual frames. Scholars agree that both have a descriptive function and therefore share the common goal of portraying a fictional or nonfictional reality. Based on this correspondence between two different modes of artistic expression, the Roman poet Horace coined the well-known simile ut pictura poesis --as is painting so is in poetry-- which in turn functions as the theoretical underpinning of ekphrasis, a rhetorical device through which one medium of art tries to describe the essence and form of another medium of art, with the purpose of enhancing the original work described. Spanish post-romantic poet and writer Gustavo Adolfo Bécquer (1836-1870) mastered this rhetorical strategy by expertly weaving all of his artistic interests into his prose. The purpose of this dissertation is to analyze how Bécquer makes his readers both see and hear through his prose. My semiotic research encompasses the various forms of ekphrasis used by Bécquer in the “Leyendas”. It shows how both images and symbols produce in readers sensory experiences that enhance their role as active participants in the creation of meaning. Thus, Bécquer´s prose is like a painting which not only tells a story, but also reflects reality through the eyes of the reader’s imagination. By using these ekphrastic strategies in his collection of short stories, Bécquer makes words, paintings, and music converge and collide with iconography, visual culture, and intertextuality. These components must be read, seen, heard, and understood to be more than just complementary to the text, but rather crucial elements, equal in importance to verbal expression. This analysis shows how Bécquer’s “Leyendas” not only tackle notions such as fantasy, figuration, and imagination, but also the importance of the reader´s gaze. Bécquer integrates processes such as imaginative action, iconization and visualization, into a semantic web whereby the reader creates his own particular hermeneutic image.

Música em projetos socioassistenciais governamentais: práticas e concepções culturais no Serviço de Convivência e Fortalecimento de Vínculos em Natal/RN

This present research focus at the teaching of music in social programs, it discuss about the teaching concepts that permeates the educational-musical practice presents in Serviço de Convivência e Fortalecimento de Vínculos (SCFV), of Complexo Dom Bosco, in Natal-RN. The Objective is to reflect upon the music teaching concepts and the relations between musical knowledge and culture. For this, it was problematized the concepts of music teaching and learning in governmental social projects through theoretical and empirical research. After this step, it was studied the cultural aspects involving the routine in the institutions the influenced the music learning at Serviço de Convivência e Fortalecimento de Vínculos, furthermore, and how these aspects are present in the constitution of the paradigms that involve music teaching. For this, it was used a qualitative approach and a case study as type of research. As data capture tool it was used the ethnographic write, photography, interviews as a Facilitator of music with the students of the program, and video recordings of musical learning situations. Theoretical support it was used authors who study the complexity, culture and music teaching in social projects. Finally, the conclusion is that musical learning, in the SCFV context, is involved of cultural conceptions steeped to the Oratório Dom Bosco space and the same time the Brazilian Social Assistance Policy. Sometimes these concepts are contradictory: discipline, leadership and combat social exclusion refer to dialogical cultural hologram of the institutions involved in the music education process.

Templo Central da Igreja Evangélica Assembleia de Deus do Natal/RN: um estudo sobre música e educação musical

This study aims to investigate the music and the existing music education in Central Temple of the Evangelical Assembly of God Church of Natal/RN. The research question asks how are the musical practices, teaching and learning music that happens in this place. I used the qualitative approach conducting a case study. The theoretical framework were Arroyo (1999, 2000a, 2000b, 2002), Kraemer (2000), Souza (1996), Souza (2000, 2008, 2009), Green (1997), Queiroz (2004a, 2004b, 2005, 2007, 2010, 2011, 2013), Geertz (1989), Nettl (1992) and Merrian (1964). I conducted semi-structured interviews and participant observation with the direction of the music department, teaching coordination, students, teachers, musicians and conductors of the church. The study revealed that the relationship between music and education is beyond just a musical training, there are many relationships established as faith, belief in God and devotion. It was found that the views of musicians and conductors think the music teaching in the church to play in worship and praise God. In the musical training of students, he was working not only musical content; It was understood that music is a mediator of meanings that go beyond experiences and musical practices. The worship of God and the worship featuring musical practices and their effects are direct music classes. The research contributes to reflection and understanding of music and music education happens in the evangelical church and a greater understanding in the relationship between music education and the cultural context where it happens.

Aprendizagem musical na Orquestra Sinfônica da UFRN

Music and music education are present in the daily lives of people in different ways and in multiple contexts. In this study, we highlight the musical training in the orchestral context aiming to understand how learning music happens in the Symphony Orches tra of the Universidade Federal do Ri o Grande do Norte – OSUFRN. To achieve this goal, we identified all the activities, structure and functioning in OSUFRN; we have observed the development of activities of the group by checking the interactions among the participants of the orchestra and the different ways to learn music in that orchestral context. The research is based on discussions about collective musical practice, instrumen tal training in music education, the process of learning and the relationship between young people and music in the context of collective musical practice learning. Qualitative approach and case study were used as methodological procedures. Data collection was established by means of on - site observations, accompanying of the activities, rehearsals and performances of group and semi - structured interviews with the conductor and some participants with more time in the orchestra. We have also used photographs a nd footage that helped us in the procedure collection and construction of data. The analysis and interpretation of these data were enforced by Content Analysis featuring. It reveals the musical learning, through learning instances perceived in rehearsals, concerts, in living with the conductor and between musicians, teachers, employees and guest musicians, individually in travel and exchanges with other orchestral groups. In this way the activities developed by the group enable a comprehensive musical educa tion that guides to acquire autonomy in their learning and preparing them for future careers.

A construção da identidade profissional de licenciados em Música da UFRN: um estudo de narrativas autobiográficas

Aims to understand the construction of the professional identity of undergraduate in Music UFRN, through the study of autobiographical sources of these subjects, checking their formative dimensions and their (re) meanings established throughout life stories. To do so, shows a brief presentation of the study and the main motivations of the author to do it; expresses the life story of the researcher and their training courses in music career; analyzes the historical overview of the route Search (Auto) biography as research and training approach (JOSSO, 2010; NÓVOA; FINGER, 2010; SOUZA, 2007; PASSEGGI; SILVA (2010b) and DELORY-MOMBERGER, 2012); It presents some reflections and discussions about the construction of identity, beyond the concepts and perceptions of the training and professional representations of this building (DUBAR, 2005); discusses the historical background regarding teacher training in Brazil and Music Education; describes the ways and methodological resources used for data collection and implementation of this research, namely, a reflective open questionnaire and autobiographical essays; It presents the life stories of the undergraduate students of the Music course and its educational and musical dimensions; Lastly, it presents a reflection about the paths taken. The results indicated that the autobiographical essays make it possible to understand the ways and social relations in the various identified training dimensions, in addition to realize that the family contexts and the first musical social contacts in informal settings, enable the licensees, an identification with the possible career lecturer in Music, as well as the main reasons for this choice. We conclude, therefore, that the experiences and musical experiences throughout life favor the construction of professional identity and that in the course of training, such experiences make ways to (re) define the musical experiences, as well as the (re) thinking their professional career.

A construção da identidade profissional de licenciados em Música da UFRN: um estudo de narrativas autobiográficas

Aims to understand the construction of the professional identity of undergraduate in Music UFRN, through the study of autobiographical sources of these subjects, checking their formative dimensions and their (re) meanings established throughout life stories. To do so, shows a brief presentation of the study and the main motivations of the author to do it; expresses the life story of the researcher and their training courses in music career; analyzes the historical overview of the route Search (Auto) biography as research and training approach (JOSSO, 2010; NÓVOA; FINGER, 2010; SOUZA, 2007; PASSEGGI; SILVA (2010b) and DELORY-MOMBERGER, 2012); It presents some reflections and discussions about the construction of identity, beyond the concepts and perceptions of the training and professional representations of this building (DUBAR, 2005); discusses the historical background regarding teacher training in Brazil and Music Education; describes the ways and methodological resources used for data collection and implementation of this research, namely, a reflective open questionnaire and autobiographical essays; It presents the life stories of the undergraduate students of the Music course and its educational and musical dimensions; Lastly, it presents a reflection about the paths taken. The results indicated that the autobiographical essays make it possible to understand the ways and social relations in the various identified training dimensions, in addition to realize that the family contexts and the first musical social contacts in informal settings, enable the licensees, an identification with the possible career lecturer in Music, as well as the main reasons for this choice. We conclude, therefore, that the experiences and musical experiences throughout life favor the construction of professional identity and that in the course of training, such experiences make ways to (re) define the musical experiences, as well as the (re) thinking their professional career.

Artisans, génies et vedettes : le statut des compositeurs dans la presse musicale française

Ce mémoire propose d’explorer quel(s) statut(s) sont accordés aux compositeurs contemporains dans le contexte musical parisien des premières années du XXe siècle à travers une analyse de la presse musicale spécialisée de l’époque. Le corpus de notre recherche est constitué de trois revues, chacune ancrée dans des sphères de sociabilités bien distinctes : La Revue musicale (histoire et critique), une « revue savante » proche du milieu de la Schola cantorum ; Le Mercure musical, une « petite revue » d’avant-garde militant en faveur de la musique de Maurice Ravel ; et Musica, une « grande revue » destinée à un lectorat issu de la petite bourgeoisie en plein essor, essentiellement féminin et pratiquant la musique en amateur. Cette étude révèle que la traditionnelle opposition entre la conception du compositeur-artisan et celle du compositeur-génie issue de la fin du XVIIIe siècle et du XIXe siècle voit apparaître un troisième joueur à l’aube du XXe siècle : le compositeur-vedette, un statut qui était jusqu’alors généralement réservé aux interprètes. Ces trois statuts coexistent dans le panorama de la presse musicale du tournant du XXe siècle, et leur promotion par certains organes de presse spécifiques répond à une logique tantôt esthétique, tantôt économique. Il se dégage de cette étude que la presse musicale constitue non seulement un indice des variations qu’a subies la figure du compositeur dans le spectre de la grandeur en culture, mais qu’elle a également joué un rôle actif dans ces transformations.

Perspectives esthétique et compositionnelle d’une dialectique entre le son et la musique

Visant à contribuer à la pérennité de la musique d’art instrumentale, cette thèse aborde plusieurs sujets la concernant, autant sur les plans théorique et esthétique que pratique et compositionnel. Les deux principaux contextes observés sont ceux de la modernité et de l’économie de marché. Le premier, par le triomphe de la raison technicienne, aurait conduit à l’autonomie de l’art désormais confronté aux risques de l’autoréférence. Le deuxième, par la pression exercée sur le compositeur à la base de la chaîne création-production-diffusion, compromettrait cette autonomie qu’elle avait pourtant contribuée à rendre possible. Or, l’autonomie de l’art, en tant que conquête sur les plans esthétique, social, politique, économique et intellectuel, représente un enjeu de taille, puisque d’éventuelles compromissions envers des impératifs extérieurs impliquent un recul sur tous ces plans. Pour répondre à cette problématique, la thèse explore des pistes de réflexions et d’opérations pour réaffirmer – en le revendiquant – ce que la musique d’art possède en propre et qui mérite encore d’être entendu, militant ainsi pour la survie de ce qui la rend possible. Plus précisément, la dialectique du son et de la musique que je développe ici me permet, dans un premier temps, d’aborder les médiations successives conduisant des ondes mécaniques à se structurer dans notre conscience jusqu’à se transmettre à nous sous forme de patrimoine; puis, dans un deuxième temps, de décrire ma propre intention de communication par la musique en analysant deux œuvres de ma composition : Musique d’art pour quintette à cordes et Musique d’art pour orchestre de chambre II (partie 1.). Musique d’art pour quintette à cordes est une œuvre-concert de soixante-cinq minutes pour quatuor à cordes et contrebasse, spatialisation, traitement et mise en espace des musiciens. Il s’agit d’un projet de recherche-création de mon initiative que j’ai aussi mené à titre de producteur. Musique d’art pour orchestre de chambre II (partie 1.) est une œuvre de commande de quatorze minutes. Le retour critique portant sur l’ensemble des composantes caractéristiques du média ouvre la voie à une corrélation plus étroite entre son contenu et sa forme privilégiée de présentation, le concert. Cette corrélation peut amener le public à désirer visiter les œuvres et apprécier leur signification, préservant la musique d’art comme mode spécifique de connaissance du monde.

The Influence of the Guatemalan Municipal Orchestra's Curriculum on the Social Relations of its Members

The purpose of this case study is to determine the influence of the curriculum used by the Guatemalan Municipal Orchestra (GMO) upon the social interactions of its members. Social interactions include relations with families, teachers, and music colleagues. To determine this influence, the researcher framed the study using three main components: the impact of music in the development of children’s social skills; the curricula forming educational processes; and the characteristics of the Venezuela musical program, El Sistema. These foundations are explored via the tenets of participatory literacy. The data collection included interviews, surveys, and observation of students, parents, teachers, and administrative personnel. Two primary themes emerged from the data analysis: the development of a sense of community and the presence of intrinsic and external motivators implicit in the GMO environment. The final analysis suggests that curricular practices in the GMO positively influenced the development of students’ social interactions.

Guerrilla Networks: An Anarcheology of 1970s Radical Media Ecologies

A monograph based on my sabbatical research on radical media ecologies in the 1970s in film, video, radio, television and music. This project aims to develop the paradgims of media archaeology and ecologies in a political way via the concepts of media anarchaeology and guerrilla networks

Estructura formal, textual y oral del discurso público

Estructura formal, textual y oral del discurso públicoExisten tres competencias comunicativas muy valoradas en la sociedad de la información. Primero, la búsqueda, selección y gestión de grandes cantidades de información. Segundo, la redacción de textos claros, concisos y rigurosos. Y en tercer lugar, la exposición y defensa oral de esta información en un discurso público. Tradicionalmente, los estudios de periodismo han abordado estas competencias de forma independiente. Pero actualmente, instituciones y empresas de ámbitos diferentes demandan un perfil profesional capaz de aplicarlas ante cualquier tipo de información y con objetivos diversos. Se propone un modelo integral en tres niveles estructurales basado en teorías, conceptos y estudios específicos de periodismo, oratoria, retórica… o comunicación, en los últimos años. Este modelo puede contribuir a encauzar las investigaciones de académicos y representa una herramienta de entrenamiento para profesionales.

Narrative Deliberation? On Storytelling as a Necessary Component of Public Deliberation

This paper deals with the place of narrative, that is, storytelling, in public deliberation. A distinction is made between weak and strong conceptions of narrative. According to the weak one, storytelling is but one rhetorical device among others with which social actors produce and convey meaning. In contrast, the strong conception holds that narrative is necessary to communicate, and argue, about topics such as the human experience of time, collective identities and the moral and ethical validity of values. The upshot of this idea is that storytelling should be a necessary component of any ideal of public deliberation. Contrary to recent work by deliberative theorists, who tend to adopt the weak conception of narrative, the author argues for embracing the strong one. The main contention of this article is that stories not only have a legitimate place in deliberation, but are even necessary to formulate certain arguments in the fi rst place; for instance, arguments drawing on historical experience. This claim, namely that narrative is constitutive of certain arguments, in the sense that, without it, said reasons cannot be articulated, is illustrated by deliberative theory’s own narrative underpinnings. Finally, certain possible objections against the strong conception of narrative are dispelled.

Musicoterapia y Arteterapia. Puntos de encuentro en el camino terapéutico

En este artículo pretendemos buscar los aspectos que confluyen en el ámbito de la musicoterapia y el arteterapia, comenzando por su definición y orígenes y siguiendo con los modelos teóricos más importantes. Al analizar los trabajos de investigación elaborados a partir de proyectos en los que se combina la práctica de las dos disciplinas, observamos la necesidad de una mayor interdisciplinareidad. Esto daría lugar a un mayor enriquecimiento de las sesiones y por tanto, del trabajo terapéutico, lo que revertiría en una mejora de la calidad de la intervención.

Metáforas del amor en la poesía de la Grecia antigua (I): la épica y la lírica arcaicas

Partiendo del concepto de metáfora cognitiva, que complementa al más conocido de metáfora literaria, y analizando la base conceptual que a ambas subyace, pretendemos un cuidadoso análisis de los textos de poesía épica y lírica arcaicas, sin olvidar la importancia fundamental del contexto cultural en que estos surgen, para obtener una mejor comprensión de la forma en que los griegos conceptualizaban el sentimiento amoroso.