Miami Art Show, June 1, 1974

Dahlia Morgan with Charles Perry. In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Relocating the Frame: Object-Oriented (1.) and Locative Art (2.) Environments

The locative project is in a condition of emergence, an embryonic state in which everything is still up for grabs, a zone of consistency yet to emerge. As an emergent practice locative art, like locative media generally, it is simultaneously opening up new ways of engaging in the world and mapping its own domain. (Drew Hemment, 2004) Artists and scientists have always used whatever emerging technologies existed at their particular time throughout history to push the boundaries of their fields of practice. The use of new technologies or the notion of ‘new’ media is neither particularly new nor novel. Humans are adaptive, evolving and will continue to invent and explore technological innovation. This paper asks the following questions: what role does adaptive and/or intelligent art play in the future of public spaces, and how does this intervention alter the relationship between theory and practice? Does locative or installation-based art reach more people, and does ‘intelligent’ or ‘smart’ art have a larger role to play in the beginning of this century? The speakers will discuss their current collaborative prototype and within the presentation demonstrate how software art has the potential to activate public spaces, and therefore contribute to a change in spatial or locative awareness. It is argued that the role and perhaps even the representation of the audience/viewer is left altered through this intervention. 1. A form of electronic imagery created by a collection of mathematically defined lines and/or curves. 2. An experiential form of art which engages the viewer both from within a specific location and in response to their intentional or unintentional input.

La protección de la niñez en la propuesta de reforma a los Arts. 11 y 14 del Código de familia, en la prohibición del matrimonio de personas del mismo sexo así nacidas como mecanismo de protección de la familia

El trabajo de investigación que se presenta, trata sobre un tema de relevancia, en el ámbito jurídico especialmente en el área de familia, teniendo éste como Objetivo general: Construir la propuesta de reforma de los arts. 11 y 14 del Código de Familia, en la prohibición del matrimonio de personas del mismo sexo así nacidas como mecanismo de protección de la familia, base de la sociedad y el desarrollo integral del niño y niña en su aspecto moral y religioso. Metodología: la investigación es teórica explicativa, la investigación tiene como población las siguientes unidades de análisis: Juez del Juzgado de Menores, representante de la Fundación Sí a la Vida, diputado de la asamblea legislativa, psicólogo, doctor en medicina general, sacerdote, homosexual, sociólogo y pastor cristiano evangélico. El método es analítico, sistemático y comparativo, la técnica es documental y de campo. Conclusiones: Existe un vacío legal en los Arts. 11 y 14 del Código de Familia, al no haber una regulación expresa en la cual se prohíba el matrimonio entre personas del mismo sexo así nacidas, es necesario definir la prohibición absoluta para la protección de la familia. Al proponer la reforma de los artículos art. 11 y 14 del Código de Familia se le da protección a la familia, ya que si se le legaliza en un futuro el matrimonio entre personas del mismo sexo así nacidas, se violentarían los arts. de la Constitución y la Ley secundaria. Si se legaliza en un futuro el matrimonio entre personas del mismo sexo así nacidas afecta el desarrollo psicológico de los menores de edad, ya que hay una distensión en el menor acerca del concepto de familia que se tiene.

Resolución 113 del 17 de julio de 2009: ¿Cuáles son los requisitos para que proceda un recurso contra un acto administrativo de registro?

Servicios registrales

Autonomía financiera de los municipios en Colombia. Contenido, alcance y principales dificultades en el Estado unitario

Informe final de investigación en el que se define el contenido y se delimita el alcance de la autonomía financiera en los entes municipales en Colombia. Lo anterior, partiendo del premisa del artículo 311 de la C.N., en donde el Municipio es concebido como la “entidad fundamental de la división político-administrativa del Estado (…)”, al cual se le arrogó autonomía como derecho y como garantía institucional, para destinarlo a ser la piedra angular de la organización territorial del Estado, autonomía para la gestión de sus intereses que se manifiesta en la facultad de administrar sus recursos, establecer tributos y participar en las rentas nacionales; indicando que es éste el objeto de análisis del presente documento. La autonomía financiera en los municipios será analizada desde el punto de vista constitucional, normativo, jurisprudencial y doctrinal. Se demostrará que ésta es el resultado de la evolución en la forma en la cual se ha hecho y se hace el gasto público en Colombia, una transición que de manera simultánea al proceso político administrativo, ha demostrado que sólo a través del empoderamiento de los municipios puede concretarse la eficiencia como principio orientador del gasto público. Además, se examinará la autonomía financiera municipal en sus dos manifestaciones esenciales, es decir, revisando la forma en que los municipios obtienen sus recursos y la forma en que posteriormente los ejecutan.

La exploración y producción de hidrocarburos en yacimientos no convencionales, frente a los principios de prevención, precaución y desarrollo sostenible

El presente trabajo de grado busca exponer el panorama actual de la exploración y producción de hidrocarburos en Yacimientos No Convencionales, realizada utilizando el fracturamiento hidráulico – Fracking – cómo método para lograr mejores condiciones físicas en el reservorio que permitan la extracción del recurso. El método mencionado es estudiado a la luz de los principios de prevención, precaución y desarrollo sostenible, que rigen la política ambiental en Colombia, con el objetivo de analizar los posibles impactos ambientales y sociales que se puedan generar por el desarrollo de la actividad extractiva de hidrocarburos en Yacimientos No Convencionales. Para finalmente mostrar que el Fracking como actividad está legalmente permitida en Colombia, y la legislación vigente responde a los principios mencionados previamente.

Reflexiones sobre la ética en el actuar de los servidores públicos en Colombia desde 1991 hasta la actualidad

El presente estado del arte se propone abordar lo concerniente a la ética en las actuaciones de los servidores públicos en Colombia, mediante una revisión exhaustiva de la literatura pertinente que existe del tema, así como de las distintas normas regulatorias y documentos oficiales que versan sobre los servidores públicos. De esta manera, se hará especial énfasis en los cambios que ha tenido la organización, el funcionamiento y el control de quienes sirven al Estado colombiano desde la instauración de la actual Constitución Política de 1991. En consecuencia, se encontrarán algunas reflexiones sobre el tema, las cuales provienen de la investigación y de entrevistas realizadas a servidores públicos.

Legitimidad del régimen de estampillas departamentales en Colombia

Análisis de la dinámica legitimadora de la Corte Constitucional en el tributo de estampillas, considerado desde la jurisdicción departamental, en el Estado colombiano.

Autoethnography : critical appreciation of an emerging art

In this article, the author discusses how she applied autoethnography in a study of the design of hypermedia educational resources and shows how she addressed problematic issues related to autoethnographic legitimacy and representation. The study covered a 6-year period during which the practitioner’s perspective on the internal and external factors influencing the creation of three hypermedia CD-ROMs contributed to an emerging theory of design. The author highlights the interrelationship between perception and reality as vital to qualitative approaches and encourages researchers to investigate their reality more fully by practicing the art of autoethnography.

The lens of ludic engagement : evaluating participation in interactive art installations

Designers and artists have integrated recent advances in interactive, tangible and ubiquitous computing technologies to create new forms of interactive environments in the domains of work, recreation, culture and leisure. Many designs of technology systems begin with the workplace in mind, and with function, ease of use, and efficiency high on the list of priorities. [1] These priorities do not fit well with works designed for an interactive art environment, where the aims are many, and where the focus on utility and functionality is to support a playful, ambiguous or even experimental experience for the participants. To evaluate such works requires an integration of art-criticism techniques with more recent Human Computer Interaction (HCI) methods, and an understanding of the different nature of engagement in these environments. This paper begins a process of mapping a set of priorities for amplifying engagement in interactive art installations. I first define the concept of ludic engagement and its usefulness as a lens for both design and evaluation in these settings. I then detail two fieldwork evaluations I conducted within two exhibitions of interactive artworks, and discuss their outcomes and the future directions of this research.