Ressenyes

Richard SENNETT, Together. London: Penguin Books, 201

La decisió artística i les seves condicions de producció : parlant amb un equip de rodatge

Em proposo destriar les condicions de producció de la mirada televisiva. La meva tasca sociològica en estudiar les pràctiques i decisions artístiques rau en fer explícits els contextos socials d'aquesta activitat professional. Expliquem aquesta pràctica tant discursiva com pragmática a partir d'una anàlisi de contingut temàtic de 20 entrevistes a participants d'un rodatge televisiu. Amb l'aplicació del programa ATLAS.ti, s'han definit les pràctiques socials que constitueixen el motor de reproducció de la distinció social. Aquesta anàlisi qualitiativa m'ha permès concretar operadors teòrics polivalents com són habitus i capital (Bourdieu, 1979; 1994; 1998), sovint massa ambigus per a ser emprats empíricament. La font de legitimitat de les decisions artístiques prové d'un tipus d'habitus artístic, que hem anomenat habitus televisiu. La dimensió relacional i instrumental del rodatge passa a un segon pla pels entrevistats. En definitiva, contractes de dependència que s'amaguen mitjançant l'exercici de la violència simbòlica quotidiana configuren les identitats professionals del món de la televisió.My aim is to explain the production conditions of a TV crew. My sociological task is to study the practices and artistic decision-making in order to make explicit the social contexts of this activity. I will explain these discursive and pragmatic practices with the thematic content analysis of 20 interviews to participants of a TV production set. Thanks to the ATLAS.ti I defined the social practices that make the reproduction of social distinction possible. Qualitative analysis has made polivalent terms such as habitus and capital (Bourdieu, 1979; 1994; 1998), otherwise too ambiguous to be applied empirically, more specific. The legitimacy of artistic decision-making arises from a type of artistic habitus, which we defined as the "TV habitus". The interviewees consider the relational and instrumental dimension of the shooting process as secondary. Therefore, contracts of dependency hidden by symbolic violence in everyday life shape their professional identity

El valor narrativo de la comunicación en la danza contemporánea: "habitus", musicalidad y emoción

The richness of dance comes from the need to work with an individual body. Still, the body of the dancer belongs to plural context, crossed by artistic and social traditions, which locate the artists in a given field. We claim that role conflict is an essential component of the structure of collective artistic creativity. We address the production of discourse in a British dance company, with data that spawns from the ethnography ‘Dance and Cognition’, directed by David Kirsh at the University of California, together with WayneMcGregor-Random Dance. Our Critical Discourse Analysis is based on multiple interviews to the dancers and choreographer. Our findings show how creativity in dance seems to be empirically observable, and thus embodied and distributed shaped by the dance habitus of the particular social context.La riqueza de la danza viene de la necesidad de trabajar con cuerpos. Pero el cuerpo del bailarín pertenece a un contexto plural, cruzado por tradiciones artísticas y sociales que posiciona el artista en un campo determinado. Partimos de la premisa de que el conflicto de roles es un componente esencial de la estructura de la creación artística colectiva. Analizamos los discursos de los miembros de una compañía de danza inglesa, parte del proyecto etnográfico ‘Dance and Cognition’, dirigido por David Kirsh de la Universidad de California, junto con la WayneMcGregor-Random Dance Company. Aplicamos un Análisis Crítico del Discurso a un corpus de entrevistas enfocadas en las emociones, la música y la danza. Demostramos cómo la creatividad en danza se puede observar empíricamente, como un producto social distribuido y corpóreo, articulado por el habitus de la danza

Semiotics of architecture for a global world: distributive cognitive paradigm

[Abstract] AOne of the best semioticians of space and architecture L. Tchertov wrote this utterance: «The interiorization of the actions in space and the exteriorization of the inner spatial images are two faces of the same semiotic structures of architecture». Taking into account this argument closely tied to the Russian dialogical tradition of M. Bakhtin and to views of L. Vygotsky our contribution will try to develop an architectural semiotic analysis based upon the distributive paradigm developed by E. Hutchins, D. Kirsch and S. Gallagher. Architecture conceived and «built» by small groups of children is shown as a first example of this chronotopic sociophysical reciprocity between physical construction between objects and social interaction between subjects. In this way, children intend to survive and to keep a dynamic equilibrium between the inner body forces and the environmental sociophysical constraints, that is, between personal freedom and social interactional rules. Then, these fundamental architectural semiotic processes and structures are applied to some examples of contemporary places in different countries related to huge populations and enormous complex social forces. Architects are under strong pressure in order to build these places without concern of environmental, cultural or social impacts of these buildings and cities. A semiotic of architectural sustainability should be able to help them to decide the right size, form and quality, because the distributive cognitive paradigm points out just to the limits in size, form and quality of the reciprocity between social interaction and specific environmental sociophysical circumstances. If the heterochronic quality of the human being’s cultural development can in this way be clarified, we should be able, as children are, to build the best places for the best social interactions we can imagine, believe in, and take care of

El poder del ejemplo : un análisis reticular del rodaje de una escena cinematográfica

Este artículo se propone explicar el rodaje de una escena cinematográfica, definido como proceso de representación, integrado por agentes intencionales y recursos representacionales. En concreto, el análisis reticular da una representación externa de una red técnico-funcional, y explicita sus dimensiones de coordinación, sincronización y complejidad, en tanto que proceso productivo. Con relación a la perspectiva sociológica, en la que haremos una síntesis entre el marco conceptual propuesto y el material empírico recogido en el entorno, nos centraremos sobre todo en dos mecanismos de dominación. Estos configuran el rodaje como un intercambio de recursos dominados y dominantes, partiendo de una estructura de distribución desigual entre los agentes. En definitiva, se explora la utilidad de en análisis reticular para entender el desarrollo objetivo del rodaje cinematográfico , a la vez que se reivindica la necesidad de analizar las relaciones de poder presentes en todo proceso social.The present article explains the shooting of a single movie scene, defined as a process of representation, with intentional agents and representational resources. Network Analysis as presented gives us an external representation of a Technical and Functional network. Furthermore, three dimensions of the observed productive process are put forward: coordination, synchronization, and complexity. Two mechanisms of domination are extracted from the suggested synthesis between our theoretical framework and the empirical material gathered. Such mechanisms shape the filmmaking process as an exchange of dominated and dominant resources, given an unequal distribution structure. In all, Network Analysis is seen from a sociological perspective as useful, in order to understand the objective development of the filmmaking process. Nevertheless, it is claimed that power relations need to be analyzed further, as central elements in any social process

Palabra de artista : los recursos discursivos de la autoridad artística

Este artículo presenta un análisis sociológico del discurso profesional el campo de la danza y de un equipo de rodaje televisivo realizadas entre 2006 y 2012 en San Diego, Londres y Barcelona. El trabajo artístico se produce dentro de una determinada distribución de capitales simbólicos, eminentemente lingüísticos. Este juego comunicativo se basa en una cadena de microdecisiones y de negociación de la incertidumbre en la carrera profesional. La hipótesis que se plantea es que el discurso profesional esconde los procesos intersubjetivos que se encuentran en la base del la autoridad artística. Los datos se compone de 40 entrevistas semi-estructuradas. Mediante un análisis temático de contenido y el uso de ATLAS.ti, hemos definido los elementos comunicativos que caracterizan la tomas de decisión artísticas. Parece que el habitus artístico surge del ejercicio cotidiano de la violencia simbólica que configura la identidad profesional de los directores/coreógrafos en oposición a sus colaboradores

Etnografia cognitiva delle interazioni mediche : medici e infermieri prendono decisioni

Il dibattito sul processo decisionale medico necessita dell'apporto degli studi naturalistici come l'etnografia cognitiva che presentiamo in questo articolo. Grazie al contributo di alcuni recenti studi micro sociologici e delle scienze cognitive, possiamo definire la conoscenza medica come il prodotto dell'interazione di un team medico in un contesto sociale particolare. Pertanto, presentiamo un approccio di cognizione diffusa ed embodied alla conoscenza esperta. Proponiamo come unità di analisi episodi di attività ricorrenti, estratti dai racconti dei medici. Possiamo affermare che l'analisi qualitativa ci aiuta a spiegare come funziona il processo decisionale tra medici e infermieri. Alla fine, ci riferiamo all'invisibilità del paziente, che é parte del contesto medico, anche se chiaramente "reso oggetto" nelle relazioni comunicative che collegano medici e infermieri.The debate on medical decision-making needs naturalistic studies such as the cognitive ethnography we present here. This paper claims the needs to move from the taken for granted theory of mind to an empirical level. Following recent microsociological and cognitive science studies, we understand knowledge as the product of interaction within a working medical team. Thus, we propose a distributed and embodied cognition approach to expert knowledge. We offer examples of Activity Recurrent Episodes or ARE as our minimal unit of analysis and analyze them in medical narratives in detail. We claim that qualitative analysis helps us explain how decisionmaking really works. Finally, we pinpoint at the invisibility of the patient, which is part of the medical setting but is clearly objectified in the communicative relationships that link the doctors and nurses