Teorías del Arte Contemporáneo: EDICIÓN 2012 TEORÍAS DEL ARTE CONTEMPORÁNEO

sábado, 3 de marzo de 2012

EDICIÓN 2012 TEORÍAS DEL ARTE CONTEMPORÁNEO

CONFERENCISTAS

Jaime Borja, Ricardo Toledo, Jaime Cerón, Jimena Andrade, Dedtmar Garcés, Fernando Escobar, Andrés Jurado, Andrés Matute, Ricardo Arcos-Palma, Marta Cabrera, María Elvira Escallón, Cristina Lleras, Andrea García, Richard Tamayo, Nicolás Gómez, Guillermo Vanegas, Andrés Buitrago, Adalberto Camperos, Eulalia de Valdenebro, María Buenaventura, Rubén Yepes, Juan David Cárdenas

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Sobre la idea de un conocimiento situado, desde Donna Haraway:

Haraway argues that vision or sight has been a guiding metaphor for western scientists in carrying out their work: they see the world and write down its truths. But in so doing they write themselves out of their own stories; their role is solely as \'modest witness\' (Haraway, 1997, ch. 1). That presumption of modesty, Haraway argues, is a direct consequence of the starting point of visuality. It creates the illusory possibility of a disembodied science. She calls this illusion a \'god trick\', the idea that it is possible to have \'vision from everywhere and nowhere\' (Haraway, 1991, p. 191). Moreover, it is just such a trick that is the basis of one of science\'s most cherished ideas, objectivity, the belief in the possibility of a single, final, detached, and unblemished rendering of the world.

http://www.geodz.com/eng/d/situated-knowledge/situated-knowledge.htm

Teorías del Arte Contemporáneo

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sábado, 3 de marzo de 2012

EDICIÓN 2012 TEORÍAS DEL ARTE CONTEMPORÁNEO

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