[ES] La presente tesis doctoral aborda la música y la diversidad visual como un conjunto. Así, lo atiende desde perspectivas de investigación y producción que integran orgánicamente praxis académica con un desarrollo poiético, artístico, creativo y social. Este trabajo ¿performativo y transdisciplinar¿ busca revalorizar la obra creada por compositoras y compositores ciegos, el sistema de musicografía braille y la práctica de producción cultural inclusiva; analizando casos, planteando reflexiones sobre la diversidad visual y estipulando diseños estratégicos de producción desde varios ángulos. En este trabajo manifiesto propuestas tanto teóricas como prácticas: 1. Planteo una nueva periodización histórica llamada 'música dictada' (Europa pre braille). 2. Trazo una guía básica para leer musicografía braille «a primera vista». 3. Preservo parte del repertorio de clavecín compuesto por John Stanley (1712-1786), mediante una grabación en sistema binaural. 4. Expongo el origen y estructura del proyecto Música y Ceguera, así como las ediciones 2016-2020, el análisis de su crecimiento y la repercusión que ha tenido como iniciativa de producción cultural inclusiva pionera. 5. Presento la World Blind Musicians Database: conjunto de información en versión preliminar, que recoge un panorama global de músicos con alguna discapacidad visual en el mundo y a través del tiempo. / [CA] La present tesi doctoral aborda la música i la discapacitat visual com un conjunt. Així, l'atén des de perspectives d'investigació i producció que integren orgànicament praxi acadèmica amb un desenrotllament poiético, artístic, creatiu i social. Este treball ?performativo i transdisciplinar? busca revalorar l'obra creada per compositores i compositors cegos, el sistema de musicografía braille i la pràctica de producció cultural inclusiva; analitzant casos, plantejant reflexions sobre la diversitat visual i proposant dissenys estratègics de producció des d'uns quants angles. En este treball manifest propostes tant teòriques com pràctiques: 1. Plantege una nova periodització històrica crida 'música dictada'; (Europa pre braille, 1325-1824) . 2. Traç una guia bàsica per a llegir musicografía braille «a primera vista». 3. Preserve part del repertori de clavecín compost per John Stanley (1712-1786) , per mitjà d'una gravació en sistema binaural. 4. Expose l'origen i estructura del projecte Música i Ceguera, així com les edicions 2016-2020, l'anàlisi del seu creixement i la repercussió que ha tingut com a iniciativa pionera. 5. Presente la World Blind Musicians Datava's: base de dades preliminar que arreplega un panorama global de músics amb alguna discapacitat visual en el món. / [EN] This thesis focuses on music and visual impairment as a whole. Thus, it explores research and production perspectives that organically integrate academic praxis with a poietic, artistic, creative and social development. This work ¿performative and transdisciplinary¿ seeks to revalue the work created by blind composers; the Braille musicography system; and the practice of inclusive cultural production by analyzing cases, proposing reflections on visual diversity, and proposing strategic design for production from various angles. In this work I make proposals, both theoretical and practical: 1. A new historical periodization called 'música dictada' (pre-Braille Europe, 1325-1824). 2. A basic guide for reading Braille musicography «at first sight». 3. The preservation of part of the harpsichord repertoire composed by John Stanley (1712-1786), through an unprecedented binaural recording. 4. The origin and structure of the Música y Ceguera project, as well as the 2016-2020 editions, the analysis of its growth and the impact it has had as a pioneering initiative. 5. The World Blind Musicians Database: a preliminary compilation which gathers a global panorama of visually impaired musicians in the world. / Peugnet Díaz, LM. (2024). Producción cultural inclusiva: música, patrimonio histórico, diseño estratégico y diversidad visual. Una investigación performativa y transdisciplinar (México/España siglo XXI) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/205488

This thesis challenges core assumptions associated with the peer production of culture using the web-based collaborative film production platform Wreckamovie to understand how peer production works in practice. Active cultural participation is a growing political priority for many governments and cultural bodies, but these priorities are often implemented without a basis in empirical evidence, making it necessary for rigorous scholarship to tackle emerging networked cultural production. Existing work portrays peer production efforts as unrealistically distinct from proprietary, market-based production, incorrectly suggesting that peer production allows distributed, non-monetarily motivated, collaboration between self-selected individuals in hierarchy-free communities. In overcoming these assumptions, this thesis contributes to the development of a consolidated theoretical framework encompassing the complicated and multifaceted nature of networked cultural production. This theoretical framing extends Bourdieu’s theory of cultural production and reconciles it with Becker’s Art Worlds framework, and further embeds and draws on Benkler’s notion of commons-based peer production. Concretely, this research tackles the emergence of new collaborative production models enabled by networked technologies, and theorizes the tensions and challenges characterizing such production forms. Secondly, this thesis redefines cultural participation and considers the divisions of labour in online filmmaking materializing from the interactions between professional and non-professional filmmakers. Finally, this study considers the social economies surrounding networked cultural production, including crowdfunding, and characterizes associated conversions of capital, such as the conversion of symbolic capital into financial capital. Methodologically, this thesis employs an embedded case study strategy. It examines four feature film productions facilitated by the online platform Wreckamovie, as well as the online community within which these productions are embedded. The four production cases have completed all production stages, and have resulted in completed cultural goods during the course of data collection. This study’s findings were derived from two and half years of participant observations, interviews with 29 Wreckamovie community and production members, and the examination of archived production-related discourses (2006-2013). Ultimately, this study makes concrete proposals towards a theory of networked cultural production with clear policy implications.

Denna studie undersöker och belyser sambanden mellan ryske författaren Boris Pasternaks erhållande av Nobelpriset i litteratur (1958) och spridningen av dennes författarskap. Syftet med studien är dels att definiera Nobelprisets roll som kulturspridare, men också att problematisera kulturprisers komplexa funktioner och inflytande över kulturell produktion. För att göra detta har två områden analyserats: Pasternaks utgivning på svenska samt dennes förekomst i svensk dagspress mellan 1953–2013.   I analysen påvisas Nobelprisets starka konsekrerande effekt på ett författarskap såväl som prisets förmåga att på lång sikt kanonisera en författare. I enlighet med Englishs teori om hur kulturpriser verkar som medium för kapitalutbyte, framgår det också i analysen hur flera involverade intressenter kapitaliserat på Pasternaks pris genom att växla in kulturellt, ekonomiskt och medialt kapital. I analysen förtydligas dessutom hur kulturprisapparaten skapar och förstärker kulturellt värde, och hur dess inflytande därmed inte inskränker sig till den kulturella scenen utan också har möjligheten att påverka den allmänna politiska opinionen. / This study explores and sheds light upon the relations between Russian author Boris Pasternak’s Nobel Prize in Literature (1958) and the subsequent proliferation of his authorship. The study’s aim is partly to define the Nobel Prize and its role as a distributor of culture, but also to problematize the complex nature of cultural prizes and their influence over cultural production. In order to do this two areas have been analysed: Pasternak’s publication in Swedish and his occurrence in Swedish daily press between 1953–2013.   The analysis exemplifies the strong consecrating power of the Nobel prize, as well as its ability to, in a longer perspective, solidify an author into a literary canon. In line with English’s theory on how cultural prizes have come to serve as forums for capital intraconversion, it is also evident in Pasternak’s example how several of the involved parties have capitalized on the prize by trading cultural, economic and medial capital. Furthermore, the analysis concretizes how the cultural prize apparatus produces and reinforces cultural value, and consequently not only influences the cultural scene, but also has the potential to sway public political opinion.

This dissertation focuses on a recent but growing movement in Argentina, state-sponsored formal institutions of popular music education. The musics taught in these schools – tango, jazz, and Argentine folk idioms – have historically been excluded from the country’s formal music education systems. Recent moves to standardize and legitimize these musics in this new institutional context raise questions of canon formation, pedagogical praxis, aesthetics and musical meaning that have implications far beyond the classrooms where they are implemented. I examine two of these schools based in and around the capital city of Buenos Aires: the Escuela de Música Popular de Avellaneda, and the Tango and Folklore department of the Conservatorio Superior de Música “Manuel de Falla.” I adopt an ethnographic approach that considers broad structural and policy issues of power distribution, state intervention, and cultural nationalism. I also examine how these structures play out in discourse and practice within and beyond the classroom, shaped by and in turn shaping students’ and teachers’ aesthetics, politics, and subject positions. I then analyze the output of several musical groups composed of current students and recent graduates of these programs, exploring the notion of an emerging institutional aesthetic and the extent to which these institutions act as homogenizing influences or engender creative divergence. Finally, applying Pierre Bourdieu’s concept of a field of cultural production, I question the extent to which this new “música popular” is truly popular, ultimately arguing that it occupies a sort of third space between mass culture and high culture, replicating some avant-garde assumptions about the role of art as anti-commercial, yet simultaneously embracing a symbolic economy that valorizes populist and subaltern identities and ideologies. / text

Local heritage societies were established in Sweden for about a hundred years ago. The societies responded to the large changes of industrialisation, emigration and urbanisation during that time. Today there are about 2 000 societies with almost half a million members altogether. Why do people turn to local heritage societies today? The image of them, associated with folklore costumes and quaint old cottages, is not consistent with the extensive activity in the 21st century. That raises questions that have not been clarified in previous research. The aim of this thesis is to find out what today's local heritage societies do, as well as to investigate what their meanings are for people and the local society. Thereby the intention is to contribute to an understanding of their present extent and endurance over time. The activities of three local heritage societies in and around the city of Linköping are mapped out in this thesis. The survey shows extensive and very broad activities that are well adjusted to present time. The traditional image has become rigid, but in parts it is accurate since the activities are still dominated by local use of history., which also contributes to their extent and continuity. Place and history as common ground is something universal: The need for people to be oriented in time and space contributes to the persistence of the local heritage societies. At the same time there seems to be something strong in society today which contributes to their extent. The thesis shows that the societies can have knowledge-generating, ideological, existential and social meaning. Through the local heritage society people can learn about, evaluate and gain feelings for the place. The society also contributes to strengthening the power of togetherness in the local community as a part of the civilian society. The multifaceted meaning of the activities makes it possible for the societies to keep or even strengthen their attraction, especially among the large group of retired people. / Hembygdsföreningar etablerades i Sverige för omkring hundra år sedan. Föreningarna svarade mot den tidens stora förändringar med industrins framväxt, emigrationen och flykten från landsbygden. Idag finns det omkring 2 000 föreningar med sammanlagt nära en halv miljon medlemmar. Varför söker sig människor till hembygdsföreningar idag? Den gängse bilden av föreningarna som bakåtsträvande och förlegade stämmer inte in på en omfattande verksamhet på 2000-talet. Det väcker frågor om hembygdsföreningar, som inte har klargjorts i tidigare forskning. Avhandlingen syftar till att ta reda på vad samtida hembygdsföreningar gör och att undersöka deras betydelser för människor och lokalsamhälle. Härigenom vill avhandlingen också bidra till att förstå deras nutida omfattning och uthållighet över tid. I avhandlingen kartläggs verksamheten i tre hembygdsföreningar i och omkring staden Linköping i Östergötland. Kartläggningen visar på en omfattande och mycket bred verksamhet som är väl anpassad till sin samtid. Den traditionella bilden är stelnad, men till delar stämmer den genom att föreningarnas verksamhet domineras av lokalt historiebruk, som också bidrar till deras omfattning och kontinuitet. Det står å ena sidan för något allmänmänskligt: Människans orientering i tid och rum, som bidrar till att föreningarna alltid är aktuella. Å andra sidan framträder intresset för det lokala och för historia som två starka strömningar i samtiden. Avhandlingen visar att föreningarna har kunskapsgenererande, ideologiska, existentiella och sociala betydelser. Genom hembygdsföreningen kan människor lära sig om, värdera och få känslor för platsen. Föreningen bidrar också till att stärka kraften och gemenskapen i lokalsamhället som en del av det civila samhället. Den mångfasetterade betydelsen av verksamheten gör att föreningarna har lyckats behålla eller till och med stärka sin attraktionskraft, särskilt bland den stora gruppen pensionärer.

In many markets for cultural goods, gatekeepers select the cultural goods, relatively few cultural goods are selected, and the criteria for selection are unclear to both artists and gatekeepers. Not knowing whether cultural goods are of the 'right' quality to be selected, artists and gatekeepers become preoccupied with handling quality uncertainty. This thesis studies such handling of quality uncertainty before, during, and after aspiring writers attempt to succeed in the publishing market. Drawing on eighty interviews with mainly aspiring writers and publishers in Sweden, three papers investigate three phases of handling quality uncertainty in the publishing market. First, in attempting to get published, writers handled uncertainty about how the quality of their work would be evaluated in the publishing market by using appraisal devices: trusted, knowledgeable appraisals of their work’s chances of success or failure on the publishing market. Second, publishers responded to uncertainty about the quality of manuscripts by learning to consider means before ends, such that certain qualities of their reading experience became the necessary means for realizing that the manuscript might be publishable. This realization moved the manuscript from the discovery phase to justification phase, in which publishers made a final decision to select or reject the manuscript. Third, for the rejected writer, the uncertainty of not knowing how the publisher had determined the quality of the manuscript made it possible to excuse the course of events. Writers gave reasons why their manuscript had been rejected based on how they imagined publishers had determined its quality. They accepted the occurrence of failure but dismissed the responsibility for having failed. Writers also engaged in justifications, refusals, and concessions of the perceived failure. These concepts for analyzing the publishing market are based on a perspective that takes into account subjectivity, temporality, and the condition of quality uncertainty. The perspective and concepts are useful for understanding other market situations in the cultural industries, wherein the successful hiring of cultural workers and the acquisition of cultural goods are rare relative to the number of aspirants, and wherein assessments are conditioned by quality uncertainty that needs to be handled. / ERC 263699-CEV

2000年以來，台灣出版社大量引進翻譯推理小說，日本及美國籍推理作家相繼來台舉辦簽書會，顯現推理小說在台灣有一定市場版圖。相對之下本土推理作品卻寥寥可數，本土推理創作者也鮮為人知。本研究以Bourdieu提出的文化場域理論為研究架構，探討創作者與文化中介者的資本組合與美學標準，如何影響本土推理小說的生產機制、交換條件與流通過程，並形成台灣推理市場以翻譯為主的現象。 本研究先以次級文獻分析法調查彙整近年推理小說市場概況，再透過半結構式深度訪談法相關行動者15位。研究發現2000年後歐美與日本推理小說出版產業成熟，相對於1980年代後才重新起步的本土創作，使台灣出版業者傾向引進翻譯作品，其中文化中介者的特定品味扮演了關鍵影響力。本土創作則以文學獎為生產關鍵。創作者不僅能透過文學獎獲得象徵價值，也能獲得出版社與其他創作者的社會資本，是進入本土推理創作文化生產場域的管道。 本研究也發現，這些本土創作者儘管部分堅持推理小說獨特的美學，但主要是受到翻譯書市場排擠，只能以文學獎獲得出版機會，被迫形成小眾市場。本土推理創作因此在台灣形成「小眾」的「通俗文學」。 / Since 2000 A.D, lots of translated detective novels have being published in Taiwan, and noted American and Japanese novelists come to Taiwan to do signing for new books, which demonstrates that detective novel is popular in Taiwan. Nevertheless, there are seldom local detective novels to be published compared to the large market. The paper quoted the theory of field of cultural production by Pierre Bourdieu, and analyzed how the creators and cultural intermediaries’ form of capitals and aesthetic standards have constructing the production mechanism and logistics process of local and foreign novels in order to understand how the market of detective novels in Taiwan are dominated by foreign products. As for the research method, the paper adopts second documentary analysis and in-depth interview. The former is to calculate the published detective novels from 2001 to Sep. 2015 sold in the dominant on-line bookstore, “Books”, in Taiwan, while the latter is to interview 15 related agencies included writers, editors, translators, and manager of bookstore to understand how the whole market of detective novels has changed in recent 15 years and the process of every agency interact with each other through their own capitals and form the production mechanism. The results contain 3 following issues. First, local production has re-started since 1980’s after a long-time decline, while the publishers in west and Japanese have developed into matured system and produced well-known novelist every years. In contrast with spending large costs to cultivate local writers on their own, Taiwanese publishers prefer to produce noted foreign works, while their taste have an influence on the judgement of works. Secondly, literary awards are the vital way in the production of local works, served as the way that the local creators enter into the field of cultural production. The creators receive symbolic capital through awards, and even obtain more opportunities to publish their works or cooperate with other related organization, which means the acquirement of social capital. Nevertheless, the publishers mainly promote those local works through the reputation of awards, so the novelists are still little-known in the popular market, and they still cannot survive through the creation of detective novels. Finally, the market of local detective novels is forced to be the field of restricted production as a result of supplanted by translated novels. There the local works can only be published through literary awards. As a consequence, the production of local detective novels becomes popular literature of niche market.

Ce mémoire est consacré à la production culturelle en contexte de convergence au Québec. Dans le premier chapitre, je démontre comment différents éléments en sont venus à façonner la production culturelle contemporaine québécoise et comment la convergence médiatique est susceptible d’orienter la production et la parution de textes culturels. J'y expose aussi les bases d'une approche de la circulation par le biais de laquelle je propose de construire théoriquement mon objet d'étude. Le deuxième chapitre est consacré à la démarche méthodologique qui a présidé ma recherche. J'y présente d'abord le terrain de l'analyse, soit la téléréalité Occupation Double, en tant que phénomène intertextuel dont j'étudie les diverses configurations sur et à travers les principales plates-formes de Quebecor. Je poursuis en décrivant la constitution du corpus de textes à l'étude ainsi que les principaux paramètres d'analyse inspirés de la théorie de la circulation et de la méthode intertextuelle privilégiée. Le troisième chapitre rend compte des résultats d’analyse, présentant deux circuits médiatiques m’ayant permis d’observer les possibilités d’émergence de personnages construits autour des concurrents de la téléréalité Occupation Double. J’initie par la suite une piste de réflexion sur la création de zones d’intimité performées par ces mêmes personnages. En conclusion, je fais un retour sur l’évolution de mes recherches et constats et propose une réflexion sur l’intimité performée et les genres possiblement pressentis pour l’endosser. / This thesis is devoted to cultural production in the context of convergence in Quebec. In the first chapter, I demonstrate how different elements have come to shape the contemporary cultural production in Quebec and how media convergence may influence the production and publication of cultural texts. I also expose the foundations of an approach of circulation through which I propose to construct theoretically the subject of my study. The second chapter is devoted to the methodological approach that led to my research. I first presented the field of analysis, the reality TV Occupation Double, as an intertextual phenomenon which I study the various configurations across the main platforms of Quebecor. I continue by describing the corpus of texts under study and the main parameters of analysis inspired by the theory of circulation and the chosen intertextual method. The third chapter reveals the results of analysis, with two media channels which allowed me to observe the possibilities of emergence of characters built around the contestants in reality TV Occupation Double. I initiate a subsequent line of thought on the creation of zones of intimacy performed by these characters. In conclusion, I look back on the evolution of my research and findings and offer a reflection on performed intimacy and possibly approached types to endorse it.

Made available in DSpace on 2016-04-26T20:48:56Z (GMT). No. of bitstreams: 1 Leandro de Carvalho.pdf: 647913 bytes, checksum: eed5eabf770713041bd4cad0aa0c8d27 (MD5) Previous issue date: 2009-05-27 / Creative economy is the theme that permeates the discussion of this work. While discussing its definitions, its scope and its size, the attention was focused on two of its aspects: access and distribution of cultural goods. These aspects were chosen based on the tension that was noticed in the cultural production: on the one hand, the music and audiovisual industry with a business model that makes profit, creating scarcity through the medium (physical environment), being controled and restrict; on the other hand, the movement of technology users, especially Internet users, promoting actions that undermine the bases of cultural industry: they make the support desnecessary and the access becomes unrestricted and fast, and change the ways of distribution, through the channels of sharing and viewing of any cultural production, that can be seen using the nearest computer. In light of these events and tensions, the development of the computer is discussed in this research: from the machine for storage only, to the machine of access. It´s also discussed, at this study, the global network as the great diffuser of cultural production, especially for small producers. Finally, it was concluded that the creation of new production facilities for cultural, musical and audiovisual areas reveal an important contradiction: the environments of greatest enhancement of access, innovation, creativity and culture (based on analysis of Rifkin), could be completely appropriated by the cultural industry, taking up the changes in perceptions of the demands. However, alongside this new type of incentive, the global network provides tools in order to completely unlink creation, distribution and access, minimizing any attempt of the cultural industry in the sense of total control of what is produced and distributed as a cultural good. New possibilities for the culture producer were placed and this professional can select and, possibly, depend less on the big cultural industry in order to feed their lives, through their art / Economia criativa é o tema que permeia a discussão deste trabalho. Enquanto se discute suas definições, sua abrangência e sua dimensão, foi focada atenção em dois de seus aspectos: o acesso e a distribuição de bens culturais. Esse recorte foi escolhido pela grande tensão que se percebe nessa produção cultural: de um lado a indústria fonográfica e audiovisual com um modelo de negócio que realiza lucro, gerando escassez por meio do suporte (meio físico), sendo passível de controle e restrição; de outro lado, o movimento de usuários de tecnologia, principalmente internautas, promovendo ações que minam as bases da indústria cultural: tornam o suporte desnecessário e o acesso irrestrito e rápido, e alteram as formas de distribuição, por meio dos canais de compartilhamento e exibição de qualquer produção cultural, ao alcance do computador mais próximo. Diante desses acontecimentos e tensões, discute-se, nessa pesquisa, a evolução do computador: de máquina de armazenamento apenas, para máquina de acesso. Discute-se, também, a rede mundial como grande difusora de produção cultural, principalmente para os pequenos produtores. Por fim, concluiu-se que as novas facilidades de criação de produção cultural, nas áreas musical e audiovisual, revelam uma contradição importante: os ambientes de maior valorização do acesso, da inovação, da criatividade e da cultura (com base nas análises de Rifkin), poderiam ser completamente apropriados pela indústria cultural, aproveitando-se das mudanças nas percepções das demandas. Entretanto, paralelamente a este novo modelo de incentivo, a rede mundial passa a disponibilizar ferramentas para que a criação, a distribuição e o acesso sejam totalmente desintermediados, minimizando qualquer tentativa da indústria cultural no sentido de controle total do que é produzido e distribuído como bem cultural. Novas possibilidades para o produtor cultural foram colocadas em cena e esse profissional poderá escolher e, possivelmente, dependerá menos da grande indústria cultural para geração de seu sustento, por meio de sua arte

O presente trabalho levanta questões sobre algumas formas particulares de estruturação de um sistema profissional de produção cultural para as artes plásticas no eixo Rio de Janeiro São Paulo no período que coincide com um momento de florescimento político e econômico e se fortalece a partir da segunda metade dos anos 1940 e ao longo das décadas de 1950/1960. No que concerne especialmente aos museus de arte moderna, observou-se um fortalecimento institucional em torno do qual o sistema artístico brasileiro se estruturou. Para se chegar a essa conclusão foram analisados os aspectos estruturais (econômicos e políticos) centrados no eixo Rio de Janeiro São Paulo, e conjunturais, a partir das particularidades do fenômeno da arte da vanguarda construtiva brasileira. Foram consideradas as visões dos artistas nacionais em relação tanto à questão da arte de vanguarda como na sua relação com o museu. Consideramos, também, a Bienal como instituição, seu vínculo com os artistas e com o próprio MAM/SP no processo de divulgação da arte. Avaliamos a ação artística, peculiar pela presença das vanguardas construtivas, que envolvia grande participação dos artistas no cotidiano museológico. Além disso, consideramos o estreito diálogo que havia com os críticos que atuavam em veículos de comunicação. Como parte fundamental do estabelecimento de um sistema profissional de produção cultural, avaliamos a consolidação de um mercado de arte com base na atuação de marchands e na criação de galerias privadas em uma ação ainda não muito distinta daquela dos museus. Os movimentos concreto e neoconcreto, na medida em que se caracterizam como vanguardas artísticas e sua atuação permitiu a mobilização do suposto sistema em torno das discussões sobre suas novas propostas éticas e estéticas, foram considerados pontualmente. / This thesis raises issues on some specific ways of structuring a professional system of cultural production for the arts in the circuit Rio de Janeiro São Paulo coincident to a moment of political and economical emergence that gets stronger from the middle of the 1940s and during the 1950/1960 decades. Regarding in special the museums of modern art, it was observed an institutional strengthening around which the Brazilian artistic system was structured. To reach that conclusion structural aspects the economics and politics in the circuit Rio de Janeiro São Paulo as well as situational ones were considered on the specificities of the phenomenon of the Brazilian constructive vanguard art. We also considered the vision of the national artists on the art of vanguard and its relation to the museum. Also, we considered the Bienal and its relation with the artists and with the Museum of Modern Art of São Paulo itself in the process of divulging the art. We evaluate the artistic action, peculiar because of the presence of the constructive vanguards, and that involved a great participation of the artists on the museum day-to-day. Besides that we consider as well the close dialogue with the critics who worked on the vehicles of mass communication. As a fundamental part of the establishing of a professional system of cultural production, we evaluate the consolidation of an art market based on the activities of the dealers and the creation of private galleries in one action not yet very much distinct from that of the museums. The concrete and neoconcrete movements were specially considered because as artistic vanguard, their performances enabled the mobilization of the supposed system around the discussions on its new ethical and aesthetic proposals.