Culture, neo-liberalism and citizen communication: the case of Radio Tierra in Chile

This article analyses the Chilean independent and not-for profit station Radio Tierra In the general context of the work of two key Chilean sociologists, José Joaquín Brunner and Manuel Antonio Garretón, in particular the latter’s theory of an epochal transformation in the relationship between culture and neo-liberalism in Chile over the preceding 30 years. More specifically, it suggests that Radio Tierra makes evident the emergence of a new form of social communication which, in contrast to the traditional liberal model of communication of, and for, information, is more attuned to the new functions of culture in the expansion and implementation of citizenship under conditions of (neo-liberal) globalization. After a discussion of the contemporary media scene and the role of public journalism and alternative communication in Latin America, the article then focuses on the communicational, political and cultural work of Radio Tierra. In 1990, along with the transition to democracy, Radio Tierra (RT) was born in Santiago as an independent station. Using its trajectory, I will try to concretely show some important connections between globalization, neo-liberalism and culture in contemporary Chile

Animation in the Core of Dystopia: Ari Folman's The Congress

[EN] Ari Folman's The Congress (2013) borrows freely from Stanisaw Lem's dystopian view in his Sci-fi novel The Futurological Congress (1971) to propose the gradual dissolution of the human into an artificial form, which is animation. By moving the action of the novel from a hypothetical future to contemporary Hollywood, Ari Folman gives CGI animation the role of catalyst for changes not only in the production system, but for human thought and, therefore, for society. This way, the film ponders the changing role of performers at the time of their digitalization, as well as on the progressive dematerialization of the film industry, considering a dystopian future where simulation fatally displaces reality, which invites relating The Congress with Jean Baudrillard's and Alan Cholodenko's theses on how animating technologies have resulted in the culture of erasing. Moreover, this article highlights how Lem's metaphor of the manipulation of information in the Soviet era is transformed in the second part of The Congress into a vision of cinema as a collective addiction, relating it to Alexander Dovzhenko's and Edgar Morin's speculative theories of total film - which come close to the potentialities of today's Virtual Reality and Augmented Reality. In addition, although The Congress is a disturbing view of film industry and animating technologies, its vision of film is nostalgically retro as it vindicates an entire tradition of Golden Age animation that transformed the star system into cartoons, suggesting the fictionalization of their lives and establishing a postmodern continuum between animation and film.Lorenzo Hernández, MC. (2019). Animation in the Core of Dystopia: Ari Folman's The Congress. Animation. 14(3):222-234. https://doi.org/10.1177/1746847719875072S222234143Eisenstein S (2011[1940–1948]) Disney. In: Bulgakowa O, Hochmuth D (eds) Sergei Eisenstein | Disney, trans. Condren D. Berlin: Potemkin Press, 9–123.Feyersinger, E. (2010). Diegetic Short Circuits: Metalepsis in Animation. Animation, 5(3), 279-294. doi:10.1177/1746847710386432Hachero Hernández, B. (2015). Deformar a la Gorgona: la imagen animada como estrategia para documentar el horror. Con A de animación, (5), 114. doi:10.4995/caa.2015.3542Kriger, J. (2012). Animated Realism. doi:10.4324/9780240814407Silvio, T. (2010). Animation: The New Performance? Journal of Linguistic Anthropology, 20(2), 422-438. doi:10.1111/j.1548-1395.2010.01078.xDelgado Sánchez C (2016) ¡A ver quién se anima! Actores animados, dibujos de carne y hueso. Madrid: Diábolo

People, Land, Arts, Culture and Engagement: Taking Stock of the Place Initiative

This report serves as a point of entry into creative placemaking as defined and supported by the Tucson Pima Arts Council's PLACE Initiative. To assess how and to what degree the PLACE projects were helping to transform communities, TPAC was asked by the Kresge Foundation to undertake a comprehensive evaluation. This involved discussion with stakeholders about support mechanisms, professional development, investment, and impact of the PLACE Initiative in Tucson, Arizona, and the Southwest regionally and the gathering of qualitative and quantitative data to develop indicators and method for evaluating the social impact of the arts in TPAC's grantmaking. The report documents one year of observations and research by the PLACE research team, outside researchers and reviewers, local and regional working groups, TPAC staff, and TPAC constituency. It considers data from the first four years of PLACE Initiative funding, including learning exchanges, focus groups, individual interviews, grantmaking, and all reporting. It is also informed by evaluation and assessment that occurred in the development of the PLACE Initiative, in particular, Maribel Alvarez's Two-Way Mirror: Ethnography as a Way to Assess Civic Impact of Arts-Based Engagement in Tucson, Arizona (2009), and Mark Stern and Susan Seifert's Documenting Civic Engagement: A Plan for the Tucson Pima Arts Council (2009). Both of these publications were supported by Animating Democracy, a program of Americans for the Arts, that promotes arts and culture as potent contributors to community, civic, and social change. Both publications describe how TPAC approaches evaluation strategies associated with social impact of the arts in Tucson and Pima County. This report outlines the local context and historical antecedents of the PLACE Initiative in the region with an emphasis on the concept of "belonging" as a primary characteristic of PLACE projects and policy. It describes PLACE projects as well as the role of TPAC in creating and facilitating the Initiative. Based on the collective understanding of the research team, impacts of the PLACE Initiative are organized into three main realms -- institutions, artists, and communities. These realms are further addressed in case studies from select grantees, whose narratives offer rich, detailed perspectives about PLACE projects in context, with all their successes, rewards, and challenges for artists, communities, and institutions. Lastly, the report offers preliminary research findings on PLACE by TPAC in collaboration with Dr. James Roebuck, codirector of the University of Arizona's ERAD (Evaluation Research and Development) Program

A tool for generating three dimensional animation on computers

Ankara : The Department of Graphic Design and the Institute of Fine Arts of Bilkent Univ. , 1991.Thesis (Master's) -- Bilkent University, 1991.Includes bibliographical references leaves 31-32.In this work, a three dimensional computer animation system has been designed to be employed in schools, for the training of art students on basic three dimensional animation techniques. Puppet Theater, as we have called the system, utilizes the flexibility and effectiveness of the low-end hardware, namely IBM PC™ computers supported with Targa 16™ graphics board and gives special emphasis to user friendliness. It Is basically a software to design three dimensional objects and choreograph the object data in the computer's memory, before rendering the resulting scenery with shading methods. The system is the result of reflecting the recent advances in the field of computer graphics and pushing the potentials of the existing platform. Software is Implemented in C language, thus the code is transportable. A custom designed object oriented windowing system called WODNTW is used as the user Interface. This open windowing system supports pull-down menus, interactive buttons, scalable windows and other popular user interface elements.Türün, Cemil ŞinasiM.S

Natively Implementing Deep Reinforcement Learning into a Game Engine

Artificial intelligence (AI) increases the immersion that players can have while playing games. Modern game engines, a middleware software used to create games, implement simple AI behaviors that developers can use. Advanced AI behaviors must be implemented manually by game developers, which decreases the likelihood of game developers using advanced AI due to development overhead. A custom game engine and custom AI architecture that handled deep reinforcement learning was designed and implemented. Snake was created using the custom game engine to test the feasibility of natively implementing an AI architecture into a game engine. A snake agent was successfully trained using the AI architecture, but the learned behavior was suboptimal. Although the learned behavior was suboptimal, the AI architecture was successfully implemented into a custom game engine because a behavior was successfully learned