El geodisentilde;o es una estrategia para disentilde;ar el territorio de una manera activa e inteligente mediante el conocimiento de las ciencias del territorio; formando a su vez una generacioacute;n de profesionales que; sin duda; vincularaacute; las ciencias del territorio y del proyecto. Este libro propone con claridad un punto de encuentro entre las ciencias del territorio y los meacute;todos para proyectar. Este libro propone con claridad un punto de encuentro entre las ciencias del territorio y los meacute;todos para proyectar. Su publicacioacute;n marca un hito en la evolucioacute;n del geodisentilde;o y serviraacute; de guiacute;a durante muchas generaciones como marco metodoloacute;gico para la creacioacute;n de nuestro futuro comuacute;n.Jack Dangermond; Presidente; Esri.GEOdisentilde;o. Meacute;todos de Planificacioacute;n Integral del Territorio; trata del proyecto en general y del geodisentilde;o en particular. El geodisentilde;o; como idea; posibilita una colaboracioacute;n maacute;s efectiva y simbioacute;tica entre las profesiones de las ciencias del territorio y aquellas cuyo fin es proyectar y planificar; los profesionales de la informacioacute;n y la poblacioacute;n local; en especial cuando tienen como objetivo mejorar las transformaciones medio ambientales y sociales. Seguacute;n el autor; Carl Steinitz; esta colaboracioacute;n es esencial.
#2021403 in eBooks 2013-06-10 2013-06-10File Name: B00QJ8WDRA
Review
0 of 0 people found the following review helpful. Insightful and readableBy mysterydancerI truly enjoyed this book. The topic was of great interest to me; as I find the politics of dance very interesting; and it was readable. Prevot is a wonderful academic. She did serious in depth research for the book; but she did not feel the need to use vocabulary that "proves" her intellectual ability. A great book if you are at all interested in this topic.0 of 0 people found the following review helpful. FundamentalBy Sara Martins Pereira da SilvaVery good book4 of 4 people found the following review helpful. High HopesBy Kevin KillianI had high hopes for this book that it did not fulfill fully. I wrote about it briefly over at HTML Giant but I find myself returning to it and wondering what ultimately left me unsatisfied. For those of you who dont know anything about the book; Dr Naima Prevots studied the transcriptions of the Dance Panel of the Presidents Emergency Fund for International Affairs; an initiative of Dwight Eisenhower to use the arts as a weapon in the Cold war of the 1950s. These records had been only hastily used before if at all by previous Cold War scholars and a full length analysis of what happened should be able to tell us a lot.Basically dance experts got together and decided which dancers and choreographers would receive money to finance foreign tours and performances. Other divisions of the Fund voted on writers; visual artists; theater companies and so on; but the Dance Panel was seen almost as the apex to the effort to depoliticize the arts in an effort to make America palatable and admirable to skeptical nations in Europe; Asia; South America and Africa.Martha Graham got a lot of funding; even though she had been a leftist; exactly the same sort of creature that the House Un-American Affairs Committee was coming down so hard on at pretty much the same time. Prevots is most successful when she can make plain this sort of cultural schizophrenia and can link it to something within dance itself that allows for this free play of image--possibly the turn from language that dance embodies? Thus dance can be understood by non-English speakers and must have seemed especially attractive to the funders. There was also a racial element to their calculations; for America was being vilified by communist critics for its racism and lynching and resistance to social justice; so the Dance Panel could send out partially integrated dance companies; and even all black companies like Alvin Aileys; to make the silent argument that; look; here in the USA we treat our black citizens with pride and shower them with bouquets.Te book also shows us which dancers did not meet with the approval of the panel. In some cases; avant-garde experimentalism was downgraded because; after all; we wanted to send human beings as our ambassadors; not weird Paul Taylor dancers with movements like Lincoln Logs scattered by a childs unruly hand. And some dancers and choreographers were quietly labelled mentally or emotionally unfit to travel; while "Grahams message was universal and reached across many barriers;" the author says. Where the book falls down is in the authors thorough endorsement of every one of the Panels decisions. One chapter concludes with this sentence: "The Dance Panel was right to reject the Ballet Russe be Monte Carlo: it chose; instead; to give the world a vision of ballet that was contemporary; exciting; and made in the U.S.A."In other words; anything that helped the US during the Cold war seems perfectly fine with Prevots; which is a shame; since we have the right to expect a little more independent analysis from such a fine researcher.
