Publicación de HistoryMiami Museum

🎬✨ ¡Explora el arte de contar historias en archviz! ✨🎬 Presentamos un nuevo artículo en el blog, una masterclass en vídeo de Juan Ignacio Pascual «Jota», enfocado en el lenguaje cinematográfico y la narrativa visual en archviz. 🎥 Descubre cómo fusionar la magia del cine con la visualización arquitectónica para crear presentaciones que no solo muestren, sino que también emocionen y cuenten historias cautivadoras. Desde el uso de planos hasta el montaje, explora técnicas cinematográficas que transformarán tus proyectos en experiencias inolvidables. 🌟 No te pierdas esta oportunidad de aprender sobre: 🔳 La importancia de aplicar lenguaje cinematográfico en tus proyectos. 🔳 Cómo la subjetividad influye en la interpretación artística. 🔳 Los componentes fundamentales del cine en la visualización arquitectónica. 🔳 La planificación y dirección como claves para una narrativa envolvente. 🔳 El impacto del montaje en el ritmo narrativo. Además, ¡analizamos escenas icónicas para un aprendizaje práctico y profundo! Lee el artículo completo en nuestro blog y mira la masterclass en nuestro canal de YouTube para una inmersión total. 📚📽️ #ArchvizCinematográfico #NarrativaVisual #VisualizaciónArquitectónica #TheFactorySchool #MasterclassArchviz

📢 Call for Expressions of Interest: (Un)Mapping the Territory: An Indigenous Artist/Research Residency @ Art Museum, University of Toronto 📢 Conceived in the context of the ongoing work mapped by the Calls to Action of the Truth and Reconciliation Commission, Hart House and the Art Museum invite Indigenous artists, artist collectives, researchers, and/or cultural workers to submit an Expression of Interest to undertake a one-year engagement with the campus, to consider the potential of (un)mapping. The residency will offer an opportunity to engage in research, followed by financially supported programming, as well as potential project initiatives that may encompass performance, site-related manifestations, walking tours, intervention, and/or exhibition. This is a two-stage application process. In stage 1, artists and researchers will submit an Expression of Interest. In stage 2, up to five candidates will be invited by members of an Indigenous Advisory group to further develop their proposal. Each shortlisted candidate will be paid $500 for the submission of the proposal. Proposals should indicate the direction of their engagement with the idea of (un)mapping, and consider how their work and research interests relate to the geographic location and communities that share the land on which the University of Toronto operates. Proposals that are wide and innovative in scope and will result in singular or multiple elements including exhibition, research, performance, site-related manifestations, walking tours, and interventions are welcomed. Artist Fee: $24,000 Material Expenses and Programming Budget: $20,000 Deadline: September 15, 2024 https://ow.ly/RFIR50ThA7U 📸 Image 1: Fire pit at the Kahontake Kitikan Garden on Hart House. [Image Description: A photograph of a concrete fire pit in an overgrown grassy area. A black fence is in the background.]

Join us in the second session of CIDOC FRIDAYs WEBINAR SERIES: Tools and standards available 26.04.2024. Jonathan Ward (editor senior, J.P. Getty Trust) and Emmanuelle Delmas-Glass (Head of Collections Information Access, Yale Centre for British Art) Documentation defines how an object may be viewed. In the case of objects depicting an image, layers of complexity emerge when decisions are made regarding what to document: the object, the image, or the object as carrier of an image. When questions arise regarding the documentation of audiovisual materials, where do museum professionals turn for concise and effective guidance?  Join us as experts from the Getty and Yale Centre for British Art share the most essential resources to assist you in your documentation endeavours. Gain access to the shortest and most effective tools available, equipping you with the knowledge and skills needed to navigate the complexities of audiovisual material documentation with confidence. Event Timing: 17.00 CET Language of the session: English Online series, no cost Organizers: CIDOC and ICOM Georgia collaborate together for this online seminar series on the last Friday of the month at 17.00 CET. Registration: https://lnkd.in/egJfiv64 Complete description of the webinar in English: https://lnkd.in/e6pTRGMr Información completa del webinar en español: https://lnkd.in/epCMkWhJ

PROPÓSITO  Generar un espacio de aprendizaje en grupo, que contribuya a una mayor consciencia de nuestro vínculo con la naturaleza, usando la creación audiovisual como herramienta. Creando un espacio fresco, liviano, íntimo, creativo, que busca mejorar la calidad de vida del participante, aprenda a comunicar sus inquietudes a través del lenguaje audiovisual.    DIRIGIDO A:  10 participantes con disponibilidad de asistir al horario del taller, con sensibilidad social y ambiental.   METODOLOGIA   PRODUCTOS: Los 10 participantes crearán un guión de micro (5 minutos) cada uno sobre tema ambiental.   CRONOGRAMA RESUMIDO Cuatro sesiones de 2 horas académicas de taller  Un chat donde se pueden compartir inquietudes Envíos de materiales de apoyo y recepción de las versiones del guión para su revisión por correo    PROGRAMA 1ER SEMANA (lunes 22, mier 24 y vier 26 abril):  1era sesión: Compartir cosmovisión indígena, una forma de conexión con la naturaleza 2da sesión: Introducción al lenguaje audiovisual (estilos de documental) 3ra sesión:  Herramienta guion audiovisual (formato de guion) 2DA SEMANA (martes 30): 3era sesión: Revisión de los guiones LLamar para inscripciones: +58 4241769000

In itself, the news about the closure of the University of the Arts is a tragedy. As one of Philadelphia’s great art institutions, it has trained artists and musicians since 1870. https://lnkd.in/gbi-rnEf The closure of UArts is merely the latest in a recent series of such closures. Last September, the Art Institutes, a group of eight colleges including the Art Institute of Atlanta, shut their doors. https://archive.ph/Yw6hj My own alma mater, the San Francisco Art Institute (founded 1871), closed in 2022. https://lnkd.in/gSNe9sur Of course, the decision for any business to declare bankruptcy and shut down is the result of a constellation of factors, and every institution’s situation is different. Nevertheless, in these cases, two reasons are glaringly apparent. One is that the tuition at institutions of higher education in the United States has skyrocketed since the 1980s, when many schools became privatized. Federal loans are a challenge for any student to pay off, but for those interested in studying fine art, an academic field that leads to a fiercely competitive job market and modest salaries, current tuition costs seem particularly unreasonable. Alongside such staggering costs, the introduction of the internet, cell phones, digital photography, and artificial intelligence has not only made high-resolution imagery, which many mistakenly conflate with high-quality visual art, accessible at little or no cost, causing an education in the visual arts to appear even less promising. The closure of private art schools is only the beginning of this troublesome trend, I fear. Now university administrators have begun questioning whether, amidst the increased emphasis upon science, technology, engineering, and mathematics (STEM), departments related to the Humanities are worth sustaining. https://lnkd.in/gszQvCWu Even art museums such as the one at which I am currently employed are struggling to redefine themselves and remain relevant amidst the ubiquity of digital imagery. Ironically, many of these institutions are now intensifying their focus upon art education, hoping that docents can make art exhibitions more “accessible” to the public. Certainly, as museums recognize the needs and interests of their multicultural audiences, we need to challenge the Eurocentric art historical canon that dominated American art museums for far too long. If making art exhibitions “accessible” means stripping them of intellectual nuance, however, then the opportunities for art education in the United States become even fewer. Is art education truly as expendable as these developments make it appear? Or is our increasing reliance upon technology as our cultural enterprises deteriorate leading us in a dark direction? RIP UArts. We will miss you dearly.

📕 "ABC del Discurso Audiovisual" es tu herramienta definitiva para dominar los fundamentos del lenguaje audiovisual. Con 4 tapas distintas, para que elijas la que más te estimula, este libro te ofrece la posibilidad de personalizar tu biblioteca y sumergirte en un contenido de calidad. Su diseño visualmente atractivo ✍ no solo te ofrece texto claro y conciso, sino también una gran cantidad de imágenes, 👨🏫 infografías explicativas y actividades prácticas que te permitirán aplicar los conocimientos adquiridos de manera inmediata. Cada capítulo cuenta con una carátula exclusiva de una peli conocida 🎞, que te sumergirá en el mundo del cine. Además, encontrarás 🎦 proyectos al final de cada uno, diseñados para estimular tu creatividad y ayudarte a desarrollar tus habilidades. 👩🏫 Si sos docente o tutor de una materia audiovisual o buscás un recurso completo y profesional para adquirir conocimientos por cuenta propia e impulsar tu carrera en el ámbito audiovisual, "ABC del Discurso Audiovisual" es la elección perfecta. #audiovisual #libro #profesional #diseño #cine"

🎁 Día 12 📖 «Luces, cámara... y traducción (audiovisual)» de @earres, @fertradav, @javishuela y @jjyborra. Página a página, descubrirás las dificultades que entraña cada disciplina de la traducción audiovisual, con ejercicios prácticos 🎥 https://lnkd.in/dDDm77HD

📢 Call for Sessions: Universities Art Association of Canada Conference 2024 @ Western University, London 📢 Universities Art Association of Canada Conference invites session proposals for the 2024 UAAC-AAUC conference by session Chairs, to be held at Western University October 24 - 26, 2024. UAAC-AAUC Conference offers a range of panels, roundtables, workshops and creative sessions that reflect UAACʼs diverse constituents, in terms of membership, scholarship, and research-creation practice. Panels, roundtables, workshops and creative sessions are invited that interrogate all time periods and cultural frames of art history, visual and material culture, studio practice, research-creation, design practice, theory and criticism, pedagogy, and museum and curatorial practice. Sessions that address anti-racism, decolonization, immigration, diaspora, disability, gender, and sexuality are welcomed. Sessions that address global or transnational topics and approaches from all time periods and sessions that do not require a standard room, such as outdoor and land-based sessions, performances, walking events, etc. are encouraged. Working groups, associations, and caucuses who can envision multi-year participation at the annual conference are encouraged to submit. UAAC-AAUC can support a limited number of hybrid in-person/online panel presentations, and encourages session chairs to propose a range of modes for the communication of academic knowledge. Submission Deadline: March 31, 2024 https://lnkd.in/epmF8Feu 📸 Image 1: Courtesy of Western University [Image Description: Image 1) An exterior photograph of Western University on a sunny day. The modern concrete building contrasts the blue sky and green trees and grass that surround it.]

I had the privilege to talk about my favourite topic this morning in Sandro Debono's class at EDUMAH - Education Museums and Heritage Erasmus Mundus. HOW DO MUSEUMS CREATE FUTURES? HOW MIGHT MUSEUMS CREATE FUTURES? HOW COULD MUSEUMS CREATE FUTURES? DO MUSEUMS WANT TO CREATE FUTURES? WHAT IF MUSEUMS CREATE FUTURES? One of the students was asking about the outcome of a visit to Museu do Amanhã from an experiential futures perspective. This is a fantastic question and one that I think may be asked of all museums, galleries, libraries, and zoos. "What is your museum saying about the future?" Factors like local context, leadership team, and the purpose of the museum shape the approach and demonstrate the organization's values of inclusivity, diversity, and agency. MOD., Parque Explora, Museum of the Future, and Museu do Amanhã, are examples of museums that use futures and foresight with impact. Each museum prompts visitors to reflect on concepts like futures, anticipation, and personal agency. These museums create a conversation with key questions such as "What if?" "So what?" "Now what?" "Is this what we really want?" I think that there is an opportunity for all museums to consider if they invite people into more just futures, propel narratives that no longer serve us, or inspire change. The four museums above are but a few that are on the thin edge of the wedge asking questions like these. I am in my early days of exploring how museums create futures, from the position of a futurist entering into the museum world. Which museums are asking this question with intention? What is their thesis about the future(s)? What might help museums understand that they are shaping the future for their stakeholders? Does a museum want the community to contribute to futures narrative they are creating? Why/ why not/ what are the challenges? I would like to keep the conversation alive, always. Thanks to Sohail Inayatullah for creating the Futures Triangle for prompting this question. Thanks to this tool, my certainty about how museums do what they do will hopefully be a modest and long journey. Thanks to Victoria Mulligan for the 12-minute review on how to run a session via her podcast (episode 10) https://lnkd.in/gMxevXtq If you are wondering about this emergent conversation, too, please reach out or tag someone who is. cc/ Lauren Vargas, PhD, Hillary Spencer, Elizabeth Merritt, Kristin Alford, Michael Radke, Lāth Carlson, Loes Damhof, Nicklas Larsen, Linda Norris, Sara Wajid, Sandro Debono, Raul Corrêa-Smith, and ...

¿Y si los subtítulos para sordos utilizasen iconos para representar la información sonora? 🤔🎵 Eso es lo que decidí poner a prueba junto con Beatriz Reverter en un estudio experimental. La información sonora es un elemento fundamental de los subtítulos para sordos, como nos han demostrado las personas que han participado en nuestro estudio. Sin embargo, a menudo se prescinde de esta información para poder adecuarse al tiempo de lectura y la sincronización. Explorar estrategias alternativas de subtitulación pueden ayudarnos a encontrar nuevas soluciones que nos permitan ofrecer una mejor accesibilidad audiovisual. Aquí os dejo el enlace a nuestro artículo publicado en la revista Hikma, donde podéis obtener más información sobre la metodología, los resultados y las conclusiones de nuestro estudio. ➡️https://lnkd.in/dPPRjX-9 ************************** Los iconos como estrategia para la representación de la información sonora en la subtitulación para sordos: un estudio experimental sobre la percepción de la audiencia. Icons as a strategy to represent acoustic information in subtitles for the deaf and hard of hearing: an experimental study about audience perception. #subtitulos #accesibilidad #subtitulosparasordos