{"id":341,"date":"2022-06-22T20:28:05","date_gmt":"2022-06-22T20:28:05","guid":{"rendered":"https:\/\/modernidadesdescentralizadas.com\/conceptos\/?post_type=bibliography&#038;p=341"},"modified":"2022-06-24T21:03:56","modified_gmt":"2022-06-24T21:03:56","slug":"publics","status":"publish","type":"bibliography","link":"https:\/\/modernidadesdescentralizadas.com\/conceptos\/en\/bibliography\/publics\/","title":{"rendered":"Public(s)"},"content":{"rendered":"\n<p><strong>Barrett, J.<\/strong> (2011), <em>Museums and the Public Sphere<\/em>, Wiley-Blackwell, Chichester.<\/p>\n\n\n\n<p><strong>Bishop, C.<\/strong> (2018), \u00abBlack Box, White Cube, Gray Zone: Dance Exhibitions and Audience Attention\u00bb, <em>The Drama Review<\/em>, 62 (2), pp.22-42.<\/p>\n\n\n\n<p><strong>Calhoun, C.<\/strong> (ed.) (1992),<em> Habermas and the Public Sphere<\/em>, The MIT Press, Cambridge, Ma.<\/p>\n\n\n\n<p><strong>Carrier, D.<\/strong> (1986), \u00abArt and Its Spectators\u00bb, <em>The Journal of Aesthetics and Art Criticism<\/em>, 45 (1), pp. 5-17.<\/p>\n\n\n\n<p><strong>Crary, J.<\/strong> (1990), <em>Techniques of the Observer. On Vision and Modernity in the Nineteenth Century<\/em>, The MIT Press, Cambridge, Ma.<\/p>\n\n\n\n<p><strong>Hoelscher, S.<\/strong> (ed.) (2013). <em>Reading Magnum: a visual archive of the modern world<\/em>, University of Texas Press, Austin, p. 92.<\/p>\n\n\n\n<p><strong>Klaus, E. and O\u2019Connor, B.<\/strong> (2000), \u00abPleasure and meaningful discourse: An overview of research issues\u00bb, <em>International Journal of cultural studies<\/em>, 3 (3), pp. 369-387.<\/p>\n\n\n\n<p><strong>Leahy, H.R. <\/strong>(2012), <em>Museum Bodies. The Politics and Practices of Visiting and Viewing<\/em>, Routledge, London and New York.<\/p>\n\n\n\n<p><strong>Martin Prada, J. <\/strong>(2018), <em>El ver y las im\u00e1genes en el tiempo de Internet<\/em>, AKAL, Madrid.<br>Sobchack, V. (2004), Carnal thoughts. Embodiment and the moving image culture, California University Press, Berkeley.<\/p>\n\n\n\n<p><strong>Reyero, C. <\/strong>(2008),<em> Observadores. Estudiosos, aficionados y turistas dentro del cuadro<\/em>, Universitat Aut\u00f2noma de Barcelona, Barcelona.<\/p>\n\n\n\n<p><strong>Wesseling, J.<\/strong> (2017), <em>The Perfect Spectator. The Experience of Art Work and Reception Aesthetics<\/em>, Valiz, Amsterdam.<\/p>\n\n\n\n<p><strong>Wilder, K. <\/strong>(2020), <em>Beholding. Situated Art and the Aesthetics of Reception<\/em>, Bloomsbury, London.<\/p>\n","protected":false},"template":"","class_list":["post-341","bibliography","type-bibliography","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/modernidadesdescentralizadas.com\/conceptos\/wp-json\/wp\/v2\/bibliography\/341","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/modernidadesdescentralizadas.com\/conceptos\/wp-json\/wp\/v2\/bibliography"}],"about":[{"href":"https:\/\/modernidadesdescentralizadas.com\/conceptos\/wp-json\/wp\/v2\/types\/bibliography"}],"wp:attachment":[{"href":"https:\/\/modernidadesdescentralizadas.com\/conceptos\/wp-json\/wp\/v2\/media?parent=341"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}