Professional Documents
Culture Documents
43
A ‐ Básico
B‐ Intermedio
C‐ Avanzado
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20
Ad Reinhardt was one of the most significant American artists of Ad Reinhardt (1913–1967) was born in Buffalo,
the twentieth century. His singular career bridges the history of modern New York. After graduating from Columbia
University in 1935, Reinhardt studied at the
abstraction with minimal and conceptual practices and continues to American Artists School and the National
resonate today. From his varied work of the 1930s through the early 1950s, Academy of Design, worked on the WPA’s easel
to the rigorously systematic and subtly chromatic “black” canvases that division, and became a member of the American
would preoccupy him from 1955 until his death, Reinhardt’s paintings, Abstract Artists group. In 1943, the same year
the newspaper PM hired Reinhardt as its staff
prolific writings, extensive slides, and published cartoons encompass artist, he began graduate studies in art history at
a multifaceted practice that encourages the viewer’s active, perceptual New York University’s Institute of Fine Arts.
engagement in the act of looking at and experiencing art, thereby In addition to his commercial work, he taught
influencing successive generations of artists with continued relevance. art and art history at Brooklyn College, Hunter
College, California School of Fine Arts, University
“To him abstraction was not a genre or style,” The New York Times art of Wyoming, and Yale University. In 1946, he
critic Holland Cotter writes of him, “it was an ethos.” joined Betty Parsons Gallery, which presented
This catalogue — the first comprehensive overview of Reinhardt’s twelve solo exhibitions over the course of his
career in over twenty years — reproduces thirteen of his signature career. Reinhardt’s work was included in impor-
tant museum exhibitions during his lifetime,
“black” paintings — 60 × 60 inch canvases from the 1960s, which he including Abstract and Surrealist Art in the United
considered to be his “ultimate” aesthetic expression and “the last paint- States, Cincinnati Art Museum (1944); The New
ings that anyone can paint.” In addition, there are reproductions of Decade: 35 American Painters and Sculptors,
Reinhardt’s original and published cartoons he completed for various Whitney Museum of American Art, New York
(1955); Americans 1963 and The Responsive Eye, The
publications, humorously commenting on contemporary social, Museum of Modern Art, New York (1963; 1965);
political, and cultural concerns. The cartoons are accompanied by and Painting and Sculpture of a Decade: 1954–64,
a selection from Reinhardt’s extensive collection of 12,000 slides taken Tate Gallery, London (1964); among others.
during his ambitious travels around the world. Reinhardt often pre- The Jewish Museum mounted Reinhardt’s first
major retrospective in 1966, and The Museum
sented them in slide shows at the Artists Club in New York, his studio or of Modern Art, New York organized a retrospec-
loft, or at various museums and schools across the country during events tive in 1991 that traveled to the Museum of
he termed “non-happenings.” Published to document the critically Contemporary Art, Los Angeles. More recent
lauded exhibition at David Zwirner in New York in 2013, the catalogue exhibitions have taken place at the Solomon R.
Guggenheim Museum, New York (2008); Josef
includes new scholarship by curator Robert Storr, in addition to an Albers Museum, Bottrop (2010); Kröller-Müller
extensive chronology of the artist’s life and career. Museum, Otterlo (2011); and the Institute
of Contemporary Arts, London (2011). Malmö
Konsthall, Sweden, will highlight Reinhardt’s
commercial work in the summer of 2015.
•
Robert Storr is the Stavros Niarchos Foundation
Dean of the Yale School of Art. He was formerly
Senior Curator in the Department of Painting and
Sculpture at The Museum of Modern Art, New
York from 1990 to 2002. In 2002, he was named
the first Rosalie Solow Professor of Modern Art at
the Institute of Fine Arts, New York University.
He has also taught at the CUNY Graduate
Center, Bard Center for Curatorial Studies, Rhode
Island School of Design, Tyler School of Art,
New York Studio School, and Harvard University,
and has been a frequent lecturer in the United
States and abroad. From 2005 to 2007, he was
Director of Visual Art for the Venice Biennale, the
first American invited to assume that position.
The exhibition he organized at David Zwirner in
the fall of 2013 to celebrate the centenary of Ad
Bits como datos denadas del puntero del ratón en la pantalla. Pero
Además de números o caracteres, cualquier informa- incluso para un mismo tipo de ar-
ción que procese el ordenador chivo una lista de ceros y unos puede interpretarse de
debe representarse en binario. Un fichero del proce- formas distintas. Una imagen
sador de textos, una presentación, puede estar almacenada como un bmp, jpg, gif, png,
una foto de las vacaciones, un archivo de audio de raw y muchos otros. Y cada uno
una canción en mp3, una pelícu- de ellos, una misma combinación de bits se interpreta
la, un juego... todos ellos son ejemplos de informa- de distintas maneras.
ción binaria. Esta variedad en la representación de la información
En este caso, tenemos una gran variedad de formas es la que provoca que, si trata-
de codificar y representar la in- mos de abrir un fichero con un programa distinto al
formación. Por ejemplo, una combinación de bits que lo ha creado, éste nos indique
puede ser el color de un pixel en la que no puede abrir el fichero. O que si se ha produci-
pantalla del ordenador, un punto sobre el papel, una do un error en la transmisión de
nota de una melodía o las coor- datos (por ejemplo, descargando un fichero), éste sea
Ad Reinhardt:
How To Look: Art Comics
La tendencia mundial generalizada es almacenar la información de forma digital, ya que, a diferencia de los
métodos analógicos, la información no se deteriora con el uso.
Claro está que el medio o soporte que almacena la información digital sí puede deteriorarse: discos duros,
discos ópticos, memorias flash, etc. Es que, en definitiva, toda información (sea analógica o digital) está final-
mente guardada en un medio físico que es vulnerable.
Es bueno destacar, como punto a favor de la información analógica, es que la pérdida de información en un
soporte digital puede ser más catastrófica que en un medio analógico. Por ejemplo, en ciertos medios o forma-
Published to celebrate the critically acclaimed 2013 exhibition at Richard Serra was born in San Francisco in 1938.
David Zwirner in New York, a show that The New York Times art critic Ken His first solo exhibitions were held at the Galleria
La Salita in Rome in 1966 and at the Leo Castelli
Johnson called “near perfect,” Richard Serra: Early Work devotes over Warehouse in New York in 1969. His first solo
three hundred pages to a key five-year period of the artist’s earliest work. museum exhibition was held at The Pasadena
Anchored by exquisite black-and-white plates, from installation views Art Museum (1970); subsequent solo museum
of works in situ to documentary photographs, this “impressively realized” shows have been held at the Stedelijk Museum
in Amsterdam (1977); The Museum of Modern
publication offers “a blow-by-blow account of Serra’s rapidly expanding Art in New York (1986); Dia Center for the Arts
art-world presence,” as described in a Bookforum review. Focusing specifi- in New York (1997); and the Pulitzer Foundation
cally on work the artist produced during the period between 1966 and for the Arts in St. Louis (2003); among other
1971, this classic tome documents the significance of his early work, with venues. In 2005, eight large-scale works by Serra
were installed permanently at the Guggenheim
archival texts and reviews, alongside new scholarship by American art Museum Bilbao, and in 2007 The Museum of
critic and historian Hal Foster. Modern Art, New York presented a retrospective
Produced in close collaboration with the artist, this monograph of the artist’s work. A traveling survey of Serra’s
aims to reconsider the groundbreaking practices and ideas that so drawings was on view from 2011 to 2012 at
The Metropolitan Museum of Art, New York;
firmly situate Serra in the history of twentieth-century art. Its stunning San Francisco Museum of Modern Art; and
selection of seminal works illuminates the debut of the artist’s innovative, The Menil Collection, Houston. In 2014, the
process-oriented experiments with nontraditional materials, such as Qatar Museum Authority presented a two-venue
vulcanized rubber, neon, and lead, and introduces the interplay of retrospective survey of his work at the QMA
Gallery and the Al Riwaq exhibition space, Doha;
gravity and material—of “verticality and horizontality,” writes Foster— also in Qatar, a new permanent, site-specific
that would remain a fundamental aspect of Serra’s production over work, East-West / West-East, was installed in
the subsequent decades. Also featured in the publication are key early the Brouq Nature Reserve in the Zekreet Desert.
examples of the artist’s work in steel, as well as stills from some of An exhibition of recent works on paper by the
artist was presented at the Instituto Moreira
his most important early films. Salles, Rio de Janeiro in 2014.
•
Hal Foster, an art historian and well-known
author on modern and contemporary art
and theory, is the Townsend Martin, Class of
1917, Professor of Art & Archaeology at Princeton
University. His numerous books include
Prosthetic Gods (2004), Design and Crime (2002),
the textbook Pop Art (2005), The Return of the Real
(1996), and Compulsive Beauty (1993). Foster’s
intellectual formation took place in the cultural
context of late-1970s New York, initially as a critic,
then as a critical art historian. He began to write
for Artforum in 1978 and was an editor at Art in
America from 1981 to 1987. In 1983, he edited a
seminal collection of essays on postmodernism,
The Anti-Aesthetic: Essays on Postmodern Culture
(Bay Press), and in 1985 published his first
collection of essays, Recodings: Art Spectacle,
Cultural Politics (Bay Press). In 1987, Foster became
the Director of Critical and Curatorial Studies
at the Whitney Independent Study Program.
Foster has been an editor of October and October
Books since 1991 and writes regularly for art
publications, including Artforum, London Review
of Books, and New Left Review.
Richard Serra:
Early Work
David Zwirner/Steidl
2014
Hardcover, 9½×12 in (24.1×30.5 cm)
340 pages, 19 color, 175 b&w
ISBN 9780989980906
$85 US & Canada | £54 | €68
•
Text by Hal Foster
Foros: Lugar público donde podrás realizar preguntas e iniciar conversaciones sobre los contenidos del
curso.
Mensajería interna: Podrás ponerte en contacto con el profesor o con otros alumnos, mediante mensajes
internos.
Calificaciones: Sección útil para visualizar las notas obtenidas durante los ejercicios de los distintos módu-
los.
Encuesta fin de curso: Con el fin de mantener el compromiso de mejora continua, recomendamos que
cumplimentes la encuesta de calidad al finalizar el curso.
Richard Serra’s “Reversal” drawings employ two identical rectangular Richard Serra was born in San Francisco in 1938.
sheets of paper that are adjoined in a vertical or horizontal format, with His first solo exhibitions were held at the Galleria
La Salita in Rome in 1966 and at the Leo Castelli
the black and white areas reversing themselves top to bottom (or left Warehouse in New York in 1969. His first solo
to right). The area that is black on the top (or left) sheet is white on the museum exhibition was held at The Pasadena
bottom (or right) sheet, and the area that is white on the top (or left) sheet Art Museum (1970); subsequent solo museum
is black on the bottom (or right) sheet in a figure / ground reversal. shows have been held at the Stedelijk Museum
in Amsterdam (1977); The Museum of Modern
Vertical and Horizontal Reversals, designed by McCall Associates Art in New York (1986); Dia Center for the Arts
in close collaboration with the artist and printed by Steidl, is the most in New York (1997); and the Pulitzer Foundation
extensive presentation of the “Reversal” drawings to be published. for the Arts in St. Louis (2003); among other
The book reproduces all thirty-three drawings shown in 2014 at David venues. In 2005, eight large-scale works by Serra
were installed permanently at the Guggenheim
Zwirner in New York, in addition to documenting this series in its entirety. Museum Bilbao, and in 2007 The Museum of
The book also includes new scholarship by art historian Gordon Hughes. Modern Art, New York presented a retrospective
of the artist’s work. A traveling survey of Serra’s
drawings was on view from 2011 to 2012 at
The Metropolitan Museum of Art, New York;
San Francisco Museum of Modern Art; and
The Menil Collection, Houston. In 2014, the
Qatar Museum Authority presented a two-venue
retrospective survey of his work at the QMA
Gallery and the Al Riwaq exhibition space, Doha;
also in Qatar, a new permanent, site-specific
work, East-West / West-East, was installed in
the Brouq Nature Reserve in the Zekreet Desert.
An exhibition of recent works on paper by the
artist was presented at the Instituto Moreira
Salles, Rio de Janeiro in 2014.
•
Gordon Hughes is a Mellon Assistant Professor
in the Department of Art History at Rice
University. He received his PhD from Princeton
in 2004, after studying philosophy at the Centre
for the Study of Theory and Criticism at the
University of Western Ontario. Originally trained
as an artist, he holds a MFA in studio arts from
the University of Illinois at Chicago. He is the
author of Resisting Abstraction: Robert Delaunay
and Vision in the Face of Modernism (2014);
co-editor with Philipp Blom of Nothing but the
Clouds Unchanged: Artists in World War One (2014);
and co-editor with Hal Foster of October Files:
Richard Serra (2000). He has published on
subjects ranging from Robert Delaunay’s early
abstraction, Douglas Huebler’s photo-conceptu-
alism, Jenny Holzer’s text-based artworks,
Roland Barthes’s book Camera Lucida, Georges
Braque’s still lifes, Robert Graves’s autobiography,
and Fernand Léger’s cinema and painting.
Hughes was a co-curator of the exhibition World
War One: War of Images / Images of War at the
Getty Research Institute and the Mildred Lane
Kemper Art Museum. His current book project,
begun while a scholar at the Getty Research
Institute in 2013, is titled Seeing Red: Murder,
David Zwirner/Steidl
Forthcoming in June 2015
Hardcover, 9¾×12¼ in (24.8×31.1 cm)
88 pages, 45 color
ISBN 9781941701010
$65 US & Canada | £45 | €60
•
Text by Gordon Hughes
SERIOUS GAME
La evaluación del curso se realizará mediante nuestro Innovador juego “Salus Game”
Para superar el juego y aprobar el curso deberás superar 10 NIVELES y EL RETO FINAL.
Para superar los diferentes niveles, podrás obtener hasta 10 comodines. Para obtener cada uno de los comodi-
nes, tendrás que visualizar un video correspondiente a los diferentes temas del curso y contestar correctamen-
te una pregunta relacionada.
Cada nivel tiene 5 preguntas que deberás contestar correctamente de manera consecutiva. Estas preguntas
pueden presentarse en formato texto o imagen. Las preguntas y las posibles respuestas se presentan de manera
aleatoria.
Si fallas una pregunta dentro de un nivel y no tienes o no quieres utilizar un comodín, deberás comenzar el
nivel desde la primera pregunta. En caso de utilizar uno de los comodines, podrá continuar el juego en la
pregunta en el que lo dejaste.
Richard Serra:
Vertical and Horizontal
Reversals
Objetivos generales:
Ser capaz de manejar las distintas formas y estrategias a la hora de comunicar y difundir contenidos digita-
les en salud.
Ser capaz de manejar las herramientas digitales más importantes que permiten amplificar los contenidos
digitales en salud creados.
Objetivos específicos:
Jason Rhoades:
PeaRoeFoam
Qué se aprende
Adquirir conocimientos avanzados y demostrar una comprensión fundamentada de la metodología de la gestión de la infor-
mación y la comunicación digital en una organización.
Capacidad de dirigir y coordinar la planificación, el diseño y la evaluación de una consultoría en información y comunicación
digital
Capacidad para aplicar técnicas que permitan vigilar y estimar la evolución de situaciones complejas y establecer medidas
correctoras vinculadas con la gestión de la información y la comunicación corporativa en una organización.
El Máster permite obtener una de estas dos especialidades: servicios de información o comunicación corporativa.
Destinatarios:
Objetivos de aprendizaje
Contenidos