SOCIOLOGY OF ART

Author: ALCOBA GÓMEZ ERNEST.
Year: 2004.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAD DE CIENCIAS ECONÓMICAS Y EMPRESARIALES.
Place of preparation: UNIVERSIDAD DE BARCELONA.

Summary: The thesis examines the confrontation between contemporary artistic practice and theory and mat service. After noting the emergence of these fractures in the media, public opinion, ete. Was questioning the idea that misunderstanding or rejection of certain proposals is merely a matter of indifference or lack of abilities of the majority of the population . To that end, he examines the concept dc musco. Instead of public presentation of artistic heritage ranging from the presentation or rapprochement and mitificación and distance. Analyzing the institution's history, we see their tracks more conservative and more transtonnadoras in terms of the democratization of knowledge. We stop those reactions contrary to the museum as an institution legitimizing culture. But to unmask. After their apparent progressivism, a potent cultural elitism. On the contrary. We stress the validity of those approaches of the new museum that give character transtonnador art and culture incorporating community involvement in the cultural dynamic. Finally, it presents a proposed Museum of Cultural Gypsy Barcelona assumes that the ability of people to define their own cultural and artistic goods. Subsequently, we turn to analyze the narrow concept of public art analyzing deslegitimaciones that academic culture has made the democratization of culture, linking artisticidad and misunderstanding, desprestigiándola under the concepts of mass culture, industry or market culture, and other areas. . Incompatibilizando quality of otelta and breadth of the segments of the public. It also analyzes the approach of different surveys of the public. In many of the results, we can appreciate preconceptions and prejudices about people not academic, a delegitimization of their capabilities. However. Defending the feasibility of such research for non-commercial purposes. As tmenor.mnade understand. Reach and promote the participation of new public unpublished, and show the importance of social participation in outreach arts. He then discusses those whirling dc academic theory of art that have informed the gap between art and the majority population. It describes the emergence and success of the aesthetics of extrailamiento. The hermetic and remoteness of the work. It also discusses processes invisibility of the conceptual tools necessary to enjoy contemporary art, who come to the paradox of defending intuition and irrationality. The hermetic on knowledge, but rather the idea that such ideas are socialized in academic circuits that keep such "capabilities" at the hands of a minority of legal persons. The result has been a body of theoretical invalidating attempts tormalización and transmission of artistic knowledge in sight. Finally. Raised those behaviors that contribute to the artistic separation artc with the public sphere. The verticality of sight, the fetichización of art object, the mitificación artist. To raise the expectations of both the look that only leads fi'ustración in the spectator sincere. To that end, we are proposing a alterntativa both contemplation Kantian certainly invalidable in contemporary art. As to the postmodern look tight. To do this we draw on arch theories stemming from the communication, ellengua.ie, interaction and cl dialogicislllo. The result is a look not watertight, that part of the interaction, reflection on the action plan governing public works contracts and those partners who can be part of it. Contemplation artistic ind 8 ividual 5b3 is incorporated as a subject and object of the action to the look, incorporating social to follow suit. Putting the work in the center of the social, restoring the capacity to transform both have asked artists of modern and contemporary art. The possibility of the argument based on the artistic pretensions of validity (turns of language, contexts of interaction. Retlexiones contrastables, establishing criteria) opens avenues for an equal relationship of art and a majority of the population, which incorporates capabilities so far not covered under the gaze academic partners and pÚblicosinéditos participate in shaping the opening of the work, outreach cultural contexts that place to contemporary art in the public sphere center dc. Therefore, discusses experiences diflisión cultural and artistic carried out by non-academic people, which pose a challenge to any theory of art which excludes social dimension as conlormadora the meaning and value of the artworks.

Author: RIUS ULLDEMOLINS JOAQUIM.
Year: 2004.
University: AUTÓNOMA DE BARCELONA [www.uab.es].
Place of defense: FACULTAT DE CIÈNCIES POLÍTIQUES I SOCIOLOGIA.
Place of preparation: ESCUELA DE POSTGRADO.

Summary: In the doctoral thesis, it is proposed to demonstrate discipline from the perspective of the sociology of the arts and culture, the emergence of a new orientation of cultural policies from the mid-nineties. Although it is a phenomenon present in all developed countries, the case of Barcelona is particularly advanced in the formation of this new paradigm as both a sub-modelo own. Through an in-depth interviews and documentary thesis shows how government cultural barcelonesas (and in particular local government) have to direct its policy since the democratization paradigm of culture, the culture of democracy or of regeneration and development cultural generate a new paradigm that is the will to catalyze the creative dynamic of all cultural sectors in order to increase their productivity culture. To demonstrate this process analyzes the construction and the evolution of cultural administrations, comparing projects of the National Theater of Catalonia and the City Theater and finally discusses the project and the result of the construction of the cluster's cultural district of Barcelona Raval and in particular the Museum of Contemporary Art in Barcelona and the Center for Contemporary Culture in Barcelona.