La diplomacia cultural como herramienta para el mejoramiento de la relación económica de Colombia con Corea del Sur y Australia

Esta investigación se preocupa por dilucidar la función de la diplomacia cultural como herramienta para mejorar la relación económica de Colombia con Corea del Sur y Australia. Así, se analiza a la diplomacia cultural y lo que hace Colombia en esta materia en ambos países; así como el estado de la relación económica de Colombia en un periodo de ocho años con dichos países, y cómo las acciones culturales colombianas podrían llegar a mejorar dicha relación económica. De esta manera además del desarrollo conceptual de diplomacia cultural y los indicadores económicos, a saber; exportaciones; Inversión Extranjera Directa y turismo; se corrió un modelo de regresión lineal para saber si efectivamente hay relación entre ambas variables y una contribución final que consiste en una propuesta de generación de indicadores de gestión a utilizarse al momento de implementar la diplomacia cultural como herramienta en política exterior.

Mothering siblings: Diaspora, desire and identity in American born confused Desi

In this essay we consider the construction of cultural identity, motherhood and the family in ABCD, a film of the Indian diaspora that had its world premiere at the 2001 London Film Festival. This film reads family, apparently within familiar narrative structures such as the U.S.-immigrant story, as portrayed in films like Goodbye, Columbus and My Big Fat Greek Wedding, and the "leaving home" story, as classically portrayed in Pride and Prejudice, where a young person needs to escape from her clueless family. The irritating presence of the mother in the film, and the quickness with which her two children appear to make life-determining decisions following her death, seem to invite discussions of plot and character organized around ideas of individual development, self-improvement and understanding. This is the territory of the desire plot, an account of family history captured for the twentieth century by Freudian-Lacanian readings which position sexual desire within the unconscious history of familial fantasies, understood as vertical and Oedipal. In this territory, mothers and old ladies become, as Mary Jacobus memorably phrased it, little more than "the waste products" of a system in which marriageable women are objects of exchange between men (142) and a mother's death would be expected to grease the wheels of narrative. Identity and narrative are inextricably linked here: a certain understanding of narrative as developmental and teleological paves the way for an understanding of identity as either/or. There are problems, however, in trying to read ABCD as a bildüngsroman structured by what Susan Freidman calls "the temporal plots of the family romance, its repetitions and discontents" (137), rendering the "Indian" characteristics of the plot unreadable, and the apparently self-defeating nature of the characters' choices and behavior, rather pointless. A central [End Page 16] difficulty is that the film both responds to and resists readings based on the Oedipal model of the bildüngsroman with its focus on linear development through time.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

La sottotitolazione interlinguistica in tempo reale: il caso Ericsson Olanda e l'esperimento presso il festival Sedicicorto 2014

Al giorno d'oggi l'accessibilità all’informazione e ai prodotti audiovisivi è un argomento particolarmente delicato. Spesso, le categorie più svantaggiate, come le persone affette da disabilità sensoriali e gli stranieri, non hanno pieno accesso alla programmazione televisiva o a eventi ricreativi, culturali o formativi (conferenze, workshop, spettacoli), a causa della mancanza di adeguati servizi di supporto linguistico. Tale carenza rappresenta una mancata opportunità d’integrazione e anche una potenziale perdita, in termini di pubblico e di introiti, per le emittenti e gli enti che organizzano programmi ed eventi di interesse generale. Questa tesi intende analizzare le tecniche attraverso le quali oggi viene realizzata la sottotitolazione interlinguistica in tempo reale. Il nostro obiettivo è quello di dimostrare che approfondendo la ricerca scientifica sul respeaking e su altre tecniche meno costose rispetto alla stenotipia, la sottotitolazione interlinguistica in tempo reale non sarebbe più un miraggio. Il primo capitolo fornisce una panoramica sulla sottotitolazione intralinguistica e interlinguistica e sulla sottotitolazione preregistrata, in diretta e in semi-diretta. Nel secondo capitolo presenteremo il caso dell’azienda Ericsson in Olanda, l'unica a fornire sottotitolazione interlinguistica in tempo reale nei Paesi Bassi, tramite una tecnica che combina un interprete simultaneo, uno stenotipista e un "subtitle keyer" (figura che inserisce i sottotitoli al momento opportuno). La squadra lavora su un segnale dal vivo che viene però trasmesso al pubblico olandese con alcuni secondi di ritardo, permettendo di migliorare la qualità dei sottotitoli. Grazie ad una borsa di studio concessa dal Dipartimento d’Interpretazione e Traduzione di Forlì (Università di Bologna), abbiamo potuto intervistare il responsabile dell’unità di traduzione presso Ericsson, dott. Thijs de Korte, e abbiamo avuto modo di assistere in loco alla realizzazione dei sottotitoli interlinguistici in tempo reale. Il terzo capitolo si concentrerà sulla tecnica del respeaking, dagli ambiti d’uso ai requisiti per svolgere questa professione. Ci concentreremo in particolare sulle somiglianze tra respeaker e interprete simultaneo, che ci condurranno all'esperimento descritto nel capitolo 4. Infatti, date le somiglianze riscontrate tra interpretazione simultanea e respeaking e il potenziale in termini di accessibilità offerto dalla sottotitolazione interlinguistica dal vivo, abbiamo fornito un servizio sperimentale di sottotitolazione in diretta dall’italiano verso l’inglese durante la cerimonia di premiazione del Sedicicorto International Film Festival di Forlì. Dopo aver descritto in dettaglio l’esperienza, analizzeremo i giudizi espressi da ospiti stranieri, pubblico italiano e membri dell'associazione "Sedicicorto", al fine di verificare la qualità del servizio e osservarne i benefici. La conclusione della nostra tesi è che sfruttando appieno il potenziale offerto della tecnologia moderna e approfondendo la ricerca sulle tecniche per la sottotitolazione interlinguistica dal vivo, si potrebbero ridurre i costi dei servizi di supporto linguistico a non udenti e stranieri, incoraggiando dunque aziende ed enti a garantire una maggiore accessibilità all’informazione e agli eventi culturali e formativi.

Film Screening: ‘The Barber of Birmingham’

Time: 6 PM – 7:30 PM | Location: Page Library, Room #100 | RSVP via Facebook: https://www.facebook.com/events/1562714160720394/ Synopsis: In this 2012 Oscar-nominated short film, Alabama barber and civil rights veteran James Armstrong experiences the fulfillment of an unimaginable dream: the election of the first African-American president. An Official Selection of the 2011 Sundance Film Festival. Produced in association with American Documentary | POV. A co-presentation with the National Black Programming Consortia.

Organizaciones regionales y diversidad cultural: la diplomacia de la Unión Europea con el Mercosur entre la sombra de Hollywood y la acción intergubernamental

El objetivo de este artículo es doble: por un lado explorar la habilidad de la Unión Europea para llevar a cabo una política audiovisual dirigida al Mercosur y promover las normas de la Convención sobre la diversidad de las expresiones culturales; por otro, analizar el impacto del modelo de política audiovisual de la UE en el desarrollo de la cooperación audiovisual con el Mercosur y centrarse en los principales vectores que configuran el paisaje audiovisual del Mercosur. El texto pretende destacar cómo y por qué la UE persigue una política audiovisual con esa región, cuáles son los propósitos y los límites de actuación. En este sentido, se preocupa por entender cómo la diplomacia audiovisual de la UE interactúa con otros actores, como las acciones gubernamentales llevadas a cabo desde la propia UE y el Mercosur, así como las prácticas del sector privado (Hollywwod y los grandes conglomerados de medios).

'Saying things without appearing to have said them': politics and protest in Jafar Panahi's this is not a film (2011)

This article considers how Jafar Panahi's This Is Not a Film represents an artivist intervention in the landscape of Iranian censorship, working as both a form of personal testimony and of political protest in the act of its making. The (not)film, made while Panahi was under house arrest and banned from film-making and secreted out of Iran for release at the 2011 Cannes Film Festival, is structured as a day-in-the-life video diary of Panahi's experience of house arrest, focusing on the personal frustrations and everyday consequences of living as a creative artist in an authoritarian society. Turning the camera on himself, Panahi self-reflexively considers what constitutes a film-maker and what constitutes a film, exploiting the blurred line between his presence in the frame as a (censored) author and as a (political) subject to make a film while simultaneously disavowing his authorial hand. Considered in terms of Hamid Naficy's analysis of contemporary Iranian films 'saying things without appearing to have said them', this article argues that Panahi's seemingly simple video diary enacts both a testimony of his specific experience of censorship and a protest against the terms of his sentence, forcefully linking personal experience and social politics through the act of film-making.

High fashion

High Fashion is a practice-led research enquiry that examines the processes involved in producing a no-budget film of high aesthetic standards that can confidently compete in the global film festival market, and to reflect on the production techniques tested during the making of the film. The practical outcome of the research is a twenty-five minute short drama. It incorporates a large cast and crew, original designer clothing, extravagant sets, and a popular soundtrack. The thesis considers how over one hundred professionals volunteered their time, expertise, and equipment to help produce the film. The thesis also examines the many obstacles encountered while producing the film and how these were overcome. It is written for the student filmmaker as a guide to "learn by doing."

In Interaction

The field was the design of cross-cultural media art exhibition outcomes for the Japanese marketplace. The context was improved understandings of spatial, temporal and contextual exhibition design procedures as they ultimately impact upon the augmentation of cross-cultural understanding. The research investigated cross-cultural new media exhibition practices suited to the specific sensitivies of Japanese exhibition practices. The methodology was principally practice-led. The research drew upon seven years of prior exhibition design practices in order to generate new Japanese exhibition design methodologies. It also empowered Zaim Artpsace’s Japanese curators to later present a range of substantial new media shows. The project also succeeded in developing new cross-cultural alliances that led to significant IDA projects in Beijing, Australia and Europe in the years 2008-10. Through invitations from external curators the new versions of the exhibition work subsequently travelled to 4 other major venues including the prestigious Songzhang Art Museum, Beijing in 07/08, the Block, QUT, Brisbane and the Tokyo International Film festival. Inspiration Art Press printed a major catalogue for the event extensively featuring this exhibition. This project also led to the Sudamalis (2007) paper, ‘Building Capacity: Literacy And Creative Workforce Development Through International Digital Arts Projects’ (IDAprojects) Exhibition Programs And Partnerships’.

The Figures

This short film, created by David Megarrity and Luke Monsour, experimented within a short timeframe with the challenge of superimposition of hand-drawn backgrounds, non-verbal action, and a short, sharp shoot. The aim was also to find a single piece of standalone music that would act as an unedited soundtrack It won Best Queensland Film at the Woodford Film Festival in 2005, and was screened at Base-Court, Lausanne Switzerland in 2006, and the Westgarth Film Festival 2005. It was acquired by comedy website minimovie in 2007.

Rare chicken rescue

Sound design for documentary is an under-researched field. The specific context of representation of emotional or mental states is particularly open to clichéd treatment. Such treatment in the media often ‘perpetuates inaccurate or negative assumptions about mental health issues in the wider community’ (Francis et al 2005: 11) by employing, for example, either jarring sound/music combinations to signify ‘madness’ or overtly saccharine music to educe sympathy. This project adopted a practice-based approach to discovering a considered aesthetic treatment designed to elicit a more empathetic audience response. A more discriminating engagement with the intentions of the film was cultivated by abandoning both the ‘representational naturalism’ and the ‘distilled, evocative realism’ of documentary sound design (Davies 2007: 18) in favour of a more lyrical or musical approach. To achieve this we manipulated perspective, tonal character and perceptions of space in the final mixing stage. The project was funded by the Film Australia National Interest Program, ABC TV and the Pacific Film and Television Commission. As a crucial contributor to the aesthetic of the project I was nominated in the funding application, and ultimately received an AFI Award for Best Sound in a Documentary in 2008. The film was honoured by The Film Critics Circle of Australia, The Slamdance Film Festival in Utah and The Sydney Film Festival. It has been favourably reviewed in national and international print media (The Age, Sydney Morning Herald, among others) as well as online film/culture zines and blogs.

Delivery

'Delivery' (2005) was an installation work at MetroArts, Brisbane that incorporated drawings, paintings, video projections and temporary architectural structures. The work made central use out of a mock public event, staged in a Gold Coast park by the artist. Documentary footage of the ambiguous event comprised one of the video projections and formed the basic iconographic palette upon which the rest of the works were based. Using 3D animation as well as conventional drawing and paintign approaches, the works conveyed a palpable sense of fragmentation and social dislocation - a quality that was heightened by the reflective panels that bisected the exhibition space. The work was [part of the MetroArts Artistic Program in 2005 and its video elements were included in the 2008 exhibition Video Ground, curated by Rachel O'Reilly for Multimedia Art Asia Pacific (MAAP)/Bangkok Experimental Film Festival (Touring show). The work was the subject of a feature article by Mark Pennings in Eyeline magazine, and also appeared on the front cover of that issue.

The Brisbane Line

A short 27 mins docudrama film. The Brisbane Line is a neo noir drama-documentary depicting the forgotten history surrounding the subtropical capital of Queensland, Australia. Set in the shadows of this sunshine city's unsolved crime, the film explores gaps between fact and fiction, memory and myth and excavates Brisbane's original sin [from DVD container]. The Brisbane Line is a film noir about the 1940s police force & corruption in Brisbane. The film is a creative research output, screened at Tribal Cinemas, Brisbane on the 8th November 2011.

Orchids : My Intersex Adventure

Orchids: My Intersex Adventure is a multi-award winning autobiographical documentary film. The film follows documentary filmmaker, Phoebe Hart, as she comes clean on her journey of self-discovery to embrace her future and reconcile the past shame and family secrecy surrounding her intersex condition. Despite her mother’s outright refusal to be in the film, Phoebe decides she must push on with her quest to resolve her life story and connect with other intersex people on camera. With the help of her sister Bonnie and support from her partner James, she hits the open road and reflects on her youth. Phoebe’s happy and carefree childhood came to an abrupt end at puberty when she was told she would never menstruate nor have children. But the reasons why were never discussed and the topic was taboo. At the age of 17, Phoebe’s mother felt she was old enough to understand the true nature of her body and the family secret was finally revealed. Phoebe then faced an orchidectomy, invasive surgery to remove her undescended testes, the emotional scars of which are still raw today. Phoebe’s road trip around Australia exposes her to the stories of other intersex people and holds a mirror to her own experience. She learns valuable lessons in resilience and healing but also sees the pervasive impact her condition has on all her relationships. At home, Phoebe and James want to start a family but dealing with infertility and the stress of the adoption process puts pressure on their marriage. Phoebe also starts to understand the difficult decisions her parents faced and is excited but apprehensive when they eventually agree to be interviewed. Will talking openly with her mother give Phoebe the answers she has been looking for? The film was produced and directed by Phoebe Hart and commissioned by the Australian Broadcasting Commission. The film premiered at the Brisbane International Film Festival in 2010 where it was voted the number one film of the festival by audiences. Orchids was broadcast on ABC1 in Australia in 2012, appeared in more than 50 film festivals internationally and has since been broadcast nationally in Switzerland, Sweden, Israel, Spain, France, Russia, Poland, Germany and the USA.