Circuitos Digitales

Cuaderno de investigaciones: semilleros andina

La investigación Corto Circuito, ahora en la escena digital se propuso al percibirse una necesidad en el evento pereirano celebrado mensualmente Corto Circuito, Escenarios Para el Arte de crear piezas promocionales donde se haga una progresión de lo análogico a lo digital y evidenciar su trabajo de manera efectiva. Esto llevado a cabo mediante una investigación-creación cualitativa donde la observación participativa del evento y el registro tanto fotográfico como audiovisual serían los métodos pertinentes de recopilación de datos. Estos permitieron a la investigación crear estrategias de comunicación y emplearlas en contenidos audiovisuales y gráficos funcionales para la promoción y distribución del evento Corto Circuito. Dando en conclusión dos piezas audiovisuales, una campaña gráfica, un sitio web y una cuña radial, todos con un enfoque publicitario y corporativo que expresen la identidad del evento, su audiencia y responder a la necesidad de mantener vivos espacios socio-cultura...

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P. Fischer & T. Bürge (eds), The Decline of Bronze Age Civilisations in the Mediterranean. Proceedings of the Goteborg Workshop held in January 2020, 2023

Macbeth The tragedy of Macbeth is the great Shakespearian play of stage superstition and uncanniness. The play is about trasgression and witches, unleashed powers that have already crossed the treshold into the supposedly safe space of the stage. In Macbet the border crossing comes at the beginning and throughout the play as well as at its close. Macbeth begins with witches. Before the inception of the play proper, before the audience is introduced to the title character or any of the Scottish nobilit or soldiery, the stage is overtaken by creatures from another world. Critics from Shakespeare's time to ours have debated whether they are English, Scottish or Continental witches. The last category is conventionally regarded as the most malevolent, powerful and dangerous. Usually, however, the witches in Macbeth are called not witches but weird sisters. Wyrd is the Old English word for fate and these are in a way classical Witches as well as Scottish or Celtic ones. The Macbeth's witches are not merely mithologycal beings, nor merely historical targets of vilification and superstition: on the stage they have a persuasive psychological reality of their own. Continental witches engaged in practicise like cannibalism, the ritual murder of infants, and perverse sexual relations with demons (all activities that will be displaced onto the real figure of Lady Macbeth). These witches were said to fly, to hold witches' Sabbaths and to be seriously malign and powerful. Local English and Scottish witches, by contrast, had less reach. They were often described as retaliatory, exacting retribution for wrongdoing. Their activities were part of a folk culture of superstition and mysterious agency, regional rather than national, pagan rather than christian. There is another dimension to Jame I's relationship to powerful or empowered women. James was the son of Mary, Queen of Scots, who was imprisoned in England for nearly 20 years and then executed, in 1587 for her supposed complicity in a plot to assasinate Queen Elizabeth. James, the son of one of these queens and the designated heir for the other made only a perfunctory protest at Mary's execution. Somewhere behind the dominant figure of King James whose image is everywhere in Macbeth, lie the shadows of the strong female figures, mothers and queens with their inescapable aura and their evident power over his life, his fate and his future. In any case, although Shakespeare and his contemporaries were surely cognizant of Jame's interest in witches, once it was decided to write a play about Macbeth the playwright was able to manipulate its details about witchcraft in the service not only of politics, but also of dramatic action and character. What Shakespeare did with the weird sisters was make them into an emblematic state of mind. We don't know if they are inside or outside Macbeth, but the effects of the play show us that they are both inside and outside the mind of the protagonist. They tell him what he has already been thinking. They allow him to interpret things as he wants to see them. They are real in the sense that they are visible and audible on stage. Unlime the voice and the dagger, the witches are seen, heard, spoken to, and vouched for by another onstage witness, Banquo, who provides very much the same kind of indipendent assurance and plays a crucial role in establishing a link of verisimilitude with the audience. They are ordinary people like ourselves. They are confidants and companions of the tragic hero. The witches, so, are real in a dramatic sense, they are a state of mind. They hint, they speak in riddles and they leave their hearers to decipher answer to the riddles they propose. They exist to be interpreted, and they are the essence of ambiguity, ambiguous not only in their speech, but in their gender. Furthermore they are neither wholly of the air or of the earth, but rather a combination of dark elements. They speak in charms or magic riddles and their language is dominated by what in the play is called equivocation. The word equivocation was much in use in the period, since it was a technical term used to describe the mental reservation, by which Jesuits often suspected of treason because of their Catholic faith, could tell unthruts or partial tricks under interrogation without breaking their word to God. Equivocation is closely akin to ambiguity, as well as to indecisiveness, an unwillingness to commit oneself either way: Drink (says the porter) may be said to be an equivocator with lechery , since it provokes and unprovokes: it provokes the desire but it takes away the performance. The porter belongs to that category of truth telling realists. Equivocation: ambiguity, the dangerous double meanings of language. Macbeth, we will see, is an equivocator in all things: a man who splits in two directions, who commits murder to become King, and suffers every moment once he is king. The withces use the words double, that is itself a sign of equivocation, of the fatal split in Macbeth, appearing again and again throughout the play, eleven times in all, always negative in contexts: Duncan is at Macbeth's castle in double trust, yet Macbeth will murder him. Macduff, according to the witches' apparition, seems to pose no threat, yet Macbeth will make assurance double sure, and kill him. Lady Macbeth, called by the king honoured hostess, who can scarcely wait till nightfall brings the death of her royal guest. When we first hear of Macbeth, before we ever meet him, he seems to be in a single state, a state of heroism, fighting, as is characteristic of Shakespeare's tragic protagonists at the outset of their journeys, en external war. Brave Macbeth he is called, and the message of his heroism is brought to the king's camp by a captain. Then we see two Macbeths, who, likewise doubtful and exhausted, doom each other and pull each other down. The image is itself a powerful diagram of doubleness, and the loss of power that comes with doubleness. Duncan is a crocial figure for this play: all the drama swirls around him. And Shakespear's Duncan differs importantly from his source in the historical chronicles. Where Holinshed's Duncan is a weak king, succeded by a powerful and fair minded Macbeth who reigns for 10 years, Shakespear makes his king nobler and more virtuous, the usurper more precipitate and vile in his designs, the action much quicker, the outcome more definitive, the King's death more disastrous. Duncan is for this play the opposite of the witches and of Lady Macbeth. He is a benevolent figure of order and trust, evoked regularly and insistently in images of light and of fertility associated with the land. Duncan speaks of his plenteous joys. Duncan's son Malcolm will inherit from his father the same language of plantation and harvest, speaking in last scene of what's more to do. This Is not merely devorative language; despite the growth of cities like London and Edinburgh, England and Scotland were at the time still largely open land. The political clock was ticking in the direction of nationalism, the unification of England and Scotland, Christian teology and absolute monarchy. But the ideology of seasonal cycle is embedded at the centre of the play. The tension between cycle and line map the structure of the play at every point from first to last. We have seen this same gesture toward fertility and seasonal cyclical renewal at the close of other Shakespearean plays about kingship. But Duncan is linked

https://irjet.net/archives/V3/i6/IRJET-V3I6134.pdf

İdealkent, 2024

Bu metin, mimarlık tarihçisi Prof. Dr. Bülent Tanju ile mimarlık, mimarlık tarihi ve mimarlık tarihyazımı üzerine gerçekleştirilmiş bir söyleşidir. Kabaca iki güzergâhtan oluşan bu kurgunun ilkinde, görece yaşam öyküsünden kısa pasajlar sunulmuştur. İkincisi mimarlık bilgisinin doğası, mimarlık pratiklerinin farklılıkları, bu farklılıklarla neler yapılabileceği, mimarlık tarihyazımında tarihselleştirmenin anlamları, tarihle kurulabilecek ilişki biçimleri, mimarlık ve kriz, zaman-mekân algısının tarihyazımında dönüştürücü rolü, metalaşmış dünyada mesleğin aşırı profesyonelleşmesinin ürettiği açmazlar olmak üzere birtakım problematiklerin konuşulduğu kesitleri içermektedir. Mimarlık bilgi binasının sınırlarının oldukça geçirimli kılındığı, hatta sınırlarının müphemleştirildiği bir konumda, mimarlık pratiklerinin, sözgelimi yazı yazmak, maket yapmak, duvar örmek, konuşmak, üç boyutlu mimarlık yapmak, her birinin toplumsallık imalatındaki sayısız etkenlerden biri olduğu ve dolayısıyla her defasında tarihselleştirilmesi gerektiği belirtilmiş-tir. Yöntem fetişizmine mesafe alınan bir yerde el yordamıyla, karşılaşmalarla, yaşamın dönüştürücü doğasıyla ve her defasında kaçış çizgisi aramanın anlamlılığı içerisinde ayrımsız her pratiğin ya da farklılık üreten imalatların birer mecra olduğu gerçeği dile getirilmiştir. Neticede, bu söyleşinin mimarlığın tarihsel doğasına mütevazı bir katkı sunmak niyetiyle hazırlandığını belirtmek gerekir.