«Los retos de la cultura digital para artistas mexicanos» | Fernanda Muñoz, Reporte Índigo

Reporte Índigo (@Reporte_Indigo)

«En México ya hubo dos intentos de legislar en contra de la descarga de contenidos de manera ilegal, una en la Cámara de Diputados y otra en el Senado de la República; sin embargo, ambas fueron retiradas por la cantidad de comentarios y presión que comenzaron a surgir en contra de estos proyectos.

»“Para vender libros digitalizados se necesita más que solo una aplicación digital, se requiere una inversión en infraestructura que permita crear un concepto, una editorial, una producción; este trabajo es mucho más complejo que la venta del libro tradicional”, asegura la escritora Marlene Diveinz.

«“Más allá de tus labios, del sol y las estrellas...” #ContigoEnLaDistancia con #CulturaDesdeCasa: para niñas y niños, aplicaciones, recorridos virtuales, videos, libros, audios ¡y más!».

»En México, la cultura no ha desaparecido. Aunque los teatros, cines, librerías y museos cerraron sus puertas como medida de prevención ante el COVID-19, los artistas y creadores siguieron compartiendo su talento, pero esta vez a través de las plataformas digitales.

»De acuerdo con el Artículo 12 del Reglamento de la Ley General de Cultura y Derechos Culturales, con el uso de las tecnologías se tendrá el propósito de establecer estrategias digitales para el acceso a la cultura y el arte, una regla que ya se comenzó a implementar.

»La dependencia les prometió a los participantes un monto único de 20 mil pesos netos a cambio de la difusión de sus propuestas artísticas.

»Y aunque la Secretaría de Cultura (SC) les pagó a los artistas por su participación, hay puntos que las autoridades no les han dejado en claro a los espectadores: que la cultura no es gratuita.

»Carlos Lara, doctor en Derecho Cultural por la Universidad Carlos III de Madrid, explica que aunque los mexicanos tienen Contigo en la distancia es la plataforma digital que la Secretaría de Cultura (SC) lanzó en marzo pasado para difundir el arte y la cultura entre los mexicanos a la cultura y las artes, eso no significa que deban obtenerlas gratuitamente, como por años las han exigido.

»De acuerdo con el analista, por estar exigiendo el libre acceso a todas las artes, a la gente se le olvida el derecho que tienen los artistas a vivir de lo que producen. “Ahí es cuando volteamos la mirada al cielo”, dice.

»En entrevista con Reporte Índigo, el analista comparte que para que el gobierno pueda distribuir cultura correctamente en las plataformas, obligatoriamente debe lanzar una política digital bajo la cual se respeten tanto los derechos de los consumidores como los de los creadores.

»“Se trata de crear una política con todos sus pilares, con continuidad y transparencia. Una verdadera política orientada a difundir de manera estratégica estos bienes y servicios culturales, debe ser algo más estructural que solo coyuntural”, detalla.

»Lo cierto es que esta pandemia hace ver la necesidad de que tanto artistas como autoridades comiencen a trabajar y dejen las reglas claras; por un lado, los creadores tendrán que profesionalizarse más y preparar contenidos de calidad para estas plataformas, y por el otro, el Estado tendrá que crear leyes para un ejercicio justo.

»Librerías, sin inversión para el mundo digital de la cultura

»Debido a que las personas no han tenido la oportunidad de acudir a las librerías para comprar publicaciones en formato físico, algunos de estos comercios han tenido que subir sus ejemplares a las plataformas digitales, aun cuando no tienen la inversión para hacerlo.

»La escritora Marlene Diveinz asegura que para poder afrontar situaciones como la actual, las librerías deben contar con una inversión en infraestructura para seguir difundiendo sus libros a través de Internet.

»De acuerdo con la también maestra de escritura creativa, las autoridades deben invertir más en libros digitales porque prácticamente se tiene muy poca experiencia con ellos, a diferencia de los escritos en físico, que llevan siglos en el mercado.

»Por otra parte, la escritora declara que con la venta de libros digitalizados debe dejarse en claro que los escritores, así como otros creadores, deben recibir un pago por su trabajo, algo que a veces se queda en el olvido.

»“Hasta donde sé, cuando uno hace un contrato con editoriales medianas o grandes, cede la explotación de su libro sin derechos a regalías por contenidos derivados, entre ellos contenidos digitales o adaptación, eso es algo que tenemos que observar. Deberíamos establecer que el pago por escrito sea una condición para publicar”, señala Diveinz.

»Se debe hacer un llamado a los lectores para entender que escribir cuesta años de aprendizaje, de práctica y de oficio para que, al final, solo reciban lo mínimo de su gran esfuerzo, dice la escritora.

»“Seamos conscientes de este dilema del libro digital, debemos defender nuestros derechos, que la gente esté dispuesta a pagar por todo lo que hacemos con relación a la cultura, trabajamos ocho o 10 horas cada día para elaborar un texto”, añade.

»Asimismo, la doctora Lucy Acosta, coordinadora de Difusión Cultural de la Facultad de Estudios Superiores (FES) Acatlán, añade que si se llega a un balance entre lo que ofrece una plataforma digital y un recinto físico, como las librerías, las personas tendrán más alternativas de aprendizaje y desarrollo cultural.

»“Creo que después del confinamiento, si se invirtió bien en la cultura, tendremos escenarios híbridos, es decir, la gente tendrá la oportunidad de elegir entre hacer una actividad en línea o de manera física”».

.../... Lee todo en Reporte Índigo

«Speech interruptions may occur within two communicative strategies: the cooperative and the intrusive (non-cooperative)»

«Each of these strategies has its own set of tactics, which help to realise speaker's intentions, for example, to dominate in the conversation, change the theme, define the status, take the initiative, humiliate a partner, or to continue the conversation, establish contact between communicants, cooperate, express consent and support, encourage further interaction.»

Conversation, debate, discussion.

Tetiana Kyrychenko
«A communicative-pragmatic analysis of interruption realisation in modern English dialogical discourse»
Lege Artis, Vol. 2, Issue 1 (2017)

Lege Artis. Language yesterday, today, tomorrow | University of SS Cyril and Methodius in Trnava (@UTrnava) | Trnava | SLOVAKIA

Se incluye a continuación un extracto seleccionado de las páginas 169 a 177 y 181 a 200 de la publicación en PDF. Las referencias pueden consultarse en la ubicación original.

Enlace HTML.

«Abstract

»The paper offers a study of speech interruptions on the basis of their communicative and pragmatic peculiarities. It provides a dynamic model of interruptions, where the development of the situation of interruption is revealed thanks to the dynamic character of speech interaction. The article presents the analysis of speech acts employed in the process of interruption. It also introduces a number of tactics of the interruption in terms of the cooperative and intrusive interruption strategy.

»Introduction

»In recent years, the key problem of linguistic studies with a communicative-pragmatic orientation is to describe the paradigm of verbal behavior. Up to now there is no single approach that would make it possible to describe communicative behaviour in its complexity. The communicative-pragmatic approach reveals the features of the language units, which are manifested in communication, i.e., in the interaction of communicative partners in the exchange of ideas to solve vital problems (Формановская 2002).

»Today, more and more researchers are turning to the problems of verbal interaction due to a growing interest in the nature of human communication and development of pragmalinguistics, a branch of linguistics, which deals with the “functioning of language” (Mey 2001: 10). The motivational component of communication, the targets set by the speakers, and the ways to achieve them are matters of utmost importance for pragmalinguistics.

»This implies that the impact on a recipient is one of the main goals in a communicative process and in the process of interruption in particular. The pragmalinguistic approach enables a detailed description of dialogical communication. This approach involves the use of language as a means of social interaction, which is based on a system of strategies, tactics, postulates, and rules (Демьянков 1981; Падучева 1982; Почепцов et al. 1981).

»Materials and methods

»The material of the article (2,357 fragments of dialogical discourse) consists of two subcorpora, i.e. discourse fragments taken from the prose texts of British and American writers (11,097 pages) and fragments taken from feature films / series (3078 minutes) of the XX – XXI centuries. All the interruptions from this corpus were analysed, some of the examples were presented in the paper to support the idea.

»The aim of the presented research is to study the interruption in the dialogical discourse. That is why in the course of my study I added video content to the written discourse with the aim to show the time limits and duration of the speaker's utterance. At the beginning of each turn I indicated the start time. In order to most accurately convey the speaker's turn I have applied literal recording that resembled scripting. In addition, visual support helped to distinguish the fragments containing speech interruptions.

»The methods of the investigation are the following: conversational analysis, speech act analysis, the method of interpretation, and the elements of quantitative analysis. Conversational analysis was applied to study the dynamics of interruptions, i.e., to study the phase development of interruptions, identify the basic structural components of the situation of interruption. This analysis enabled the identification of formal features of interruptions, the technology of communicative interaction within the interruption situation. This type of analysis helped to focus on the limits and transmission of the turn from one communicant to another, provided an opportunity to consider how communicative partners interpret the utterances of each other.

»Speech act analysis made it possible to identify illocutionary potential of interruptions in dialogical discourse, pragmalinguistic peculiarities of speech acts used to interrupt a partner. Speech act analysis helped to focus on pragmatic functions of speech interruptions, to reveal the intentional component of interruptions.

»The method of interpretation was used for the selection of fragments of dialogical discourse containing interruptions, the analysis and explanation of the realisation and functioning of interruptions in specific communicative situations.

»The elements of quantitative analysis were applied to determine the quantitative characteristics of discursive realisation of interruptions.

»Dynamic model of interruptions

»Basic stages of the interruption

»The mechanism of turn-taking is an important part of a communicative process. The ideal model of turn-taking implies the sequential change of the communicative roles. There are a lot of tactics of inclusion in the conversation, one of which is the interruption that violates the ideal model of turn-taking. This type of interaction is dynamic in its essence and demonstrates a desire of one of the speakers to adopt the communicative initiative.

»According to conversational analysis, speech is not chaotic, but has a clear structure and its own dynamics. The pre-verbal stage of the interruption is marked by formation of communicative goals, situation, and context development that will accompany the interruption, prediction of situation development.

»Analysing the interruption phenomenon in terms of its dynamics, I can distinguish three main phases of the verbal stage of the interruption: the pre-interruption, the interruption, and the post-interruption phase. To study these phases I will consider at least three communicative turns. The phase model “provides an opportunity to reveal the dynamics” (Морозова 2008: 22) of the interruption.

»The pre-interruption phase

»The first phase includes stimulus utterances that encourage the addressee to interrupt their partner. This phase is marked by the climax technique, intensification, aggravation of the situation, leading to emotional tension in the interruption phase. This stage of communicative interaction creates favourable conditions for the speech interruption. As far as the structure of this phase is concerned, it may embrace several turns. Consider this example:

»1) (а) “You know how I pretty much declared that all guys are scum?”
Tracy rolled her eyes. “Yeah.”
(b) “Well, I decided I'm not dating anymore–”
(с) “Penny.” Tracy interrupted.
“Tracy, can you just hear me out?” (Eulberg 2010: 28).

»The example illustrates a situation, where the pre-interruption phase is formed of two turns (a) and (b). The pre-interruption phase is the impulse to the speech interruption (с).

»The interruption phase

»Turn-taking may be of two kinds: a speaker selects the next speaker or the other speaker starts talking without the partner's permission to speak. The second type of turn-taking is a characteristic feature of the phenomenon of interruption. The interruption phase is marked by the inability of one of the speakers to complete their turn to an end. The interruption may be depicted with the help of a model that shows the components of the situation of interruption (an addressee, an addresser, their cognitive spaces, a social situation, which includes the conditions and characteristics of communication, the interruption, and chronotope (spatio-temporal continuity), in which the sender and the recipient are located (Fig. 1):

Figure 1. The base model of speech interruption in dialogical discourse. Picture made by the author with the use of standard Microsoft Office graphic tools.

»The interruption phase is characterised by the effect of defeated expectancy (Риффатер 1979). Linearity of speech is marked by the appearance of the next element, which is prepared by the previous one. The emergence of an unexpected element in a communicative situation, which is not prepared by the previous one, causes the effect of defeated expectancy. The interruption is the unexpected element of such kind.

»Depending on the communicative function of interruptions they may be cooperative (Кириченко 2015b; Li 2001; Murata 1994), which are aimed at cooperation and collaboration, and intrusive (Кириченко 2015a; Goldberg 1994; Kennedy et al. 1983; Li 2001; Murata 1994), which serve as an expression of superiority and dominance.

»It should be emphasised that very often interruptions, which serve as a feedback signal, acquire the status contact maintenance utterances. Such interruptions demonstrate a sincere concern, interest, and involvement in a communicative process.

»Taking into account the works of Dobrushina (Добрушина 2001), Sacks, Schegloff, Jefferson (Sacks et al. 1974) Li, Zhang, Yum, Lundgren, Pahal J. (Li et al. 2008), Schegloff (Schegloff 2007), Biber, Johansson, Leech, Conrad, Finegan (Biber et al. 1999) and considering the criteria of functional loading I single out the following types of interruptions that serve as a feedback signal and an indicator of sincere interest:

»• phatic reactive expressions that demonstrate interest in the topic of a conversation and immersion in the subject, reactive statements of agreement / disagreement / acceptance:

»2) “It's the principle of it, Nora. Don't you understand? We can forget about Christmas if we damned well choose, and–”
“Don't swear, Luther”
“And no one, not even Vic Frohmeyer, can stop us.” Louder. “I will not be forced into doing this!” He was pointing to the ceiling with one hand and waving the memo with the other. Nora retreated to the kitchen (Grisham 2001: 45).

»• expressions that carry out semantic connection and have the connotation of evaluation, such as: I know, I suppose, I think, I don't think, I agree, I don't agree, maybe, etc.:

»3) “First of all, I want to renew my motion for a change of venue–”
“We object,” interrupted Buckley
“Shut up, Governor! “ Jake yelled. “I'm not through, and don't interrupt me again!” (Grisham 1989: 379).

»• re-askings, echo questions, which are used to clarify, confirm, or disprove the information (often contain lexical entrainments):

»4) 00.09.29 Cook-boy: Thank you. Look, Mr. Jones, I just want to say, I...you've always been a hero of mine. We studied your menus and recipes–
00.09.36 Adam Jones: A hero or a god?
00.09.38 Cook-boy: I... I don't know the difference (Burnt, video).

»• repetitions, which are used with the same aim as re-askings, echo questions:

»5) “Yes, sir, we sure did. Charlene's sort of–”
“Sort of?”
“Well, sort of horny” (Woods 1991: 27-28).

»• completion of the utterance of the previous speaker:

»6) “A question. It seems to me that it's a long shot for Scully & Pershing to assign me to the litigation section that happens to be handling this case, and it's even more of a stretch to believe they would allow a green associate to get anywhere near it. I'm sure you've thought about this.”
“And the question is–?”
“What happens if I'm nowhere near this case?” (Grisham 2009: 43).

»The following extract of the dialogical discourse provides the example of the interruption, which serves as a feedback signal:

»7) “Funny you ask that. I actually just heard from a mutual friend that she got engaged.
(а) About a month after–” He stops, looks uncomfortable.
(b) “After you did?” (Giffin 2004: 90).

»In the fragment, the conversation happens between Rachel and Darcy. Rachel asks the man about his ex-girlfriends. When it is difficult for Darcy to complete the sentence (a), she interrupts him and finishes the utterance (b). The interruption in this case indicates full immersion into the conversation and awareness of the context, which limits the particular communicative situation.

»It should be emphasised that interruptions do not always break the conversation integrity and structuredness, but rather act as a repair device (Sacks et al. 1974: 724), especially in the case when something is not clear for one of the interlocutors. Thus, speech interruptions are characterised by not only a destructive function in speech, but also have a correcting purpose. So, the interruptions that serve as a feedback signal may have two functions, a disruptive and repair function, depending on the context and situation peculiarities.

»The post-interruption phase

»The post-interruption phase manifests itself in the form of folding of a communicative contact, full or partial change of a topic, and return to the topic, which was defined at the beginning of the conversation. There are two ways of development of the post-interruption phase: positive and negative. The phase will be positive, provided that there are no conflicts, communicative failures, or hostility, when the goals and interests of all participants are taken into consideration and understanding is achieved, otherwise the post-interruption phase will be marked by a negative tone.

»According to Bilmes (1997: 515), there are three ways of doing being interrupted: direct claims, interruption displays, and ignoring. Consider one of the types of reactions using an example:

»8) “Look, I already apologized–”
“You APOLOGIZED?”
“Penny, I'm so sorry–”
“SORRY?”
(а) “Please stop doing that and just listen to me, I can explain.”
“Fine, then.” I sat down on the couch, “Explain” (Eulberg 2010: 9).

»The above given example demonstrates the reaction for the interruption in the form of direct claims (а). The speaker does not like to be constantly interrupted as it is difficult to express the point of view. As a result, the speaker uses direct claims as a reaction to the interruption.

»The post-interruption phase can be executed verbally or nonverbally. In the following example we are dealing with the absence of the post-interruption phase, as the conversation ends with the interruption. Consider the case of the interruption 9), which consists of two phases: the pre-interruption (a) and the interruption phase (b):

»9) The bedroom was done in white, with all-white furniture, and a large mirrored ceiling over the bed. Tanner looked around and said, (а) “I'm impressed. This is the most–”
(b) “Shh.” Paula began to undress him (Sheldon 2004: 118).

»The post-interruption phase is omitted in the above given example for there is no need to continue the interaction any longer. The analysis of the post-interruption phase is rather important, because it helps to understand the speaker's reaction to the interruption and investigate what impact the interruption has on a communicative process as a whole.

»The post-verbal stage of the interruption begins when the conversation stops and is characterised by processing of the results of communication by the speakers. Summarizing: the speech interruption is not limited to one sentence. This is a complex communicative entity, which has the pre-verbal, verbal, and post-verbal stages that form the communicative situation of interruption.

»Strategies and tactics of the interruption depending on its functions

»Basic stategies of the interruption

»In a study of the interruption in verbal interaction taking as a basis communicative and cognitive-pragmatic nature of this phenomenon, I distinguish two overall communicative strategies: the cooperative (harmonious, aimed at rapprochement and cooperation) and the intrusive (confrontational, aimed at distancing) (Table 1).

»The boundary between the tactics is not very substantial, for one and the same interruption may have different purposes and functions. Moreover, the tactics presented in the previous section are used to implement different tactics depending on the communicative situation.

»One and the same tactic may be realised with the help of different speech acts. In this way the speech act classification and the tactics in the strategy list complement each other. The classification of tactics within each strategy is based on the main functions of intrusive (floor taking, disagreement / discontent, tangentialization, topic change) and cooperative (agreement, assistance, and clarification) interruptions.

Table 1. The use of strategies and tactics of speech interruption in the English dialogical discourse

»The cooperative strategy

»The cooperative speech strategy is a harmonious strategy that is aimed at collaboration and cooperation. The tactic of theme development (6 %) is the tactic of providing new information, earlier unknown facts that help to develop the interaction, following the Politeness Principle. To put emphasis on new information a speaker may use the following phrases: What is more, Moreover, Furthermore, Additionally, I want to add, Besides, but they are optional. The next example of the interruption shows how the introduction of new information contributes to the development the topic:

»17) I reached across the table and took her hands in mine. “You taking your meds?” She said they'd told her in Med Line that they couldn't dispense any more of her antianxiety medication until Woody okayed it. “Well, that's not a problem, is it? He knows your history. If you're having flashbacks, then–”
“The earliest appointment I could get is October,” she said.
“That's unacceptable. Did you explain it was an emergency?” (Lamb 2008: 393).

»The tactic of approval / confirmation (3 %) is associated with the approval of communicative behavior, actions, attitudes of a communicative partner and is characterised by willingness of the addresser of the interruption to make concessions, compromise, and solve problems, even if it may involve losses or negative consequences for themselves. In addition, this tactic is used to approve of the partner's position, attitudes, or beliefs. The following phrases are used to implement this tactic: Let it be, Yes, You may be right, I agree / partially agree, completely agree, Fine. Promisives and constatives are the most common speech acts used for the realisations of this tactic. Besides, the tactic of approval / confirmation is marked by the observance of the Politeness Principle:

»18) Diane was puzzled. “Paperwork–?”
“Yes. The courier brought it yesterday, with your letter.”
“I didn't send any–”
“Frankly, I was a little surprised, but, of course, it was your decision” (Sheldon 2004: 41-42).

»The tactic of compassion / empathy (2 %) consists in empathy with a communicative partner, their life situation, feelings, mental, and emotional state. This tactic involves active listening, absorption in the situation, and compliance with the Politeness Principle:

»19) “Nothing, fucking nothing–”
“You look like you feel awful.”
“I feel like fucking shit.” I was about to say what an idiot I was, not listening to her about the booze (Flynn 2012: 47).

»The main feature of the application of this tactic is the use of You-sentences – sentences with “you”, “your” and “you're”.

»The tactic of advice (1 %) is aimed at the regulation of the partner's communicative or nonverbal behavior according to personal vision of the situation, attitudes, and preferences. Interruptions involving this tactic include expressions, lexical units that express possibility (maybe, perhaps, possibly, very likely) and suggestion (I suggest, My offer is, I'm offering):

»20) “Oh. No, I don't think... but, like you said, in private, she could–”
“Perhaps you would like to speak directly to Maureen?”
“Oh. Sure” (Lamb 2008: 339).

»The tactic of understanding / interest (6 %) indicates communicant's immersion in a topic and interest:

»21) 00.47.43 Jamie: Well?
00.47.44 Dylan: We talked, we laughed, she's Belgian– v00.47.48 Jamie: Explains the reading (Friends with benefits, video).

»Such expressions as I see, I understand, Tell me more about it, I want to know more, That's interesting help to implement this tactic. It should be noted that the realisation of the tactic of understanding / interest requires compliance with the Politeness Principle.

»The tactic of offers / requests (3 %) consists in efforts of the addresser to persuade a communicative partner to perform some actions that can be profitable for one of the participants of the interaction or both. It should be mentioned that this tactic is realised exclusively within the Politeness Principle, considering the interests and opportunities of the partner. The following expressions make the realisation of this tactic possible: Promise you, Just promise you, Could / Would you do me a favour?, Would it be too much trouble for you + infinitive, Could I ask / bother / trouble you + infinitive, Could you possibly + verb, Would you mind + verb + ing, Could you please + verb. Here is an example of this tactic:

»22) And I knew this would be your reaction, I think, but instead I say, “I wouldn't call it 'sucked in'. For one, we haven't even made a final decision–”
Suzanne interrupts, “Just promise you won't start talking in a Southern accent.”
“Atlantans don't have much of an accent,” I say. “It's too transient ... Andy barely has an accent” (Giffin 2004: 79).

»The tactic of utterance completion (2 %) consists in logical completion of the utterance of a communicative partner because of their inability or unwillingness to finish it. The implementation of this tactic is only possible with full understanding of the relationship between the utterances of a communicative partner and their semantic loading:

»23) Dr. Patel nodded. “But I'm not sure about flashbacks, Mr. Quirk. More typically, vicarious traumatization manifests itself as hyper-vigilance or an inabilty to focus. Nightmares, sometimes. All classic symptoms of–”
“Posttraumatic stress,” I said.
“Yes, yes. Now I'm thinking the episode you experienced – vicarious flashback or not – may have triggered a rapid drop in your blood pressure. And that, in turn, may have been the reason you seem to have lost consciousness for a second or two. Were you alone when this happened?” (Lamb 2008: 457).

»This tactic may be realised with the help of one or two words, or even the whole sentence.

»The tactic of encouragement (1 %) is used to embolden or reassure a partner, to improve mood or moral state. For this purpose the speaker, who interrupts, may use compliments (You look / are great / perfect / fine / nice / beautiful / handsome, You weren't a loser. You were <...>), emphasise the strengths and positive qualities of the partner, suggest alternative opportunities encouraging to some verbal or nonverbal actions:

»24) “I'm sorry, Carolyn, but I just can't–”
Carolyn took Diane in her arms. “I know. But there are a lot of friends who want to see you.”
Diane shook her head. “No. It's im–”
“Diane, Richard's life is over, but yours isn't. Don't shut out the people who love you. I'll start making calls” (Sheldon 2004: 28-29).

»The tactic of assurance / conviction (2 %) implies the efforts of a speaker to convince a communicative partner of the positive development or insignificance of negative factors and an extraneous point of view:

»25) “No, wait!” I called. “Please just let me–”
“Don't listen to any of that stuff she said about you, Mom! I'm going to come visit you! I love you, Mom!” (Lamb 2008: 367-368).

»This tactic concerns also the conviction of a communicative partner in one's promising future or positive state of affairs:

»26) “Thanks. You sure you're going to be okay here by yourself? Because you could always call–”
“I'll be okay,” she said (Lamb 2008: 253).

»The implementation of this tactic involves the use of such phrases as: Believe me, Trust me, I'll be /everything will be okay / fine / great.

»The tactic of correction (2 %) is realised by providing the faithful informative explanation or correction of errors and inaccuracies (verbal or non-verbal) of a communicative partner:

»27) 00.09.29 Joey: There was a seen in Footloose–
00.09.31 Chandler: Flashdance.
00.09.32 Joey: Yeah-yeah, yeah, with that-that uh, plumber girl–
00.09.34 Chandler: She was a welder.
00.09.35 Joey: What? Were you like in the movie, or... Anyway, she takes off her bra under her shirt and pulls it out the sleeve. Very sexy, and classy (Friends 4/16, video).

»To realise this tactic the addresser of the interruption may use the phrases: You see / understand / know, The correct / accurate <...> is <...>, that contribute to the observance of the Politeness Principle.

»The tactic of providing information / clarification (4 %) is used to clarify the points of communicative interaction, which may be unknown or confusing for the addressee of the interruption from the position of the person who interrupts. This tactic is used to adjust communicative behavior of a partner. Such interruptions may be introduced by in order to, so that, in order that, so as, because, as, since, whereas, for, seeing, indicating the addresser's wish to as accurately as possible formulate their views, ideas, what illustrates the following example:

»28) “Wait a minute. The horrible boating accident that took the life of my wife and brother and four close friends was on the third of November that year. I was in the hospital until November twentyfourth. Are you daring to suggest that a week later, when I was still recovering from terrible injuries, that somehow I was involved in–?”
Ramsey interrupted him. “Mr. Connelly, we are suggesting nothing. We are here because that girl's skeletal remains were found on your property” (Clark 2013: 167).

»In addition, the phrases What I want to say is, What I mean, My idea is, and lexical units that express contradiction (but, on the other hand, yet, only, still, however, except for) help to convey the point of view clearly and correctly.

»The tactic of requesting information / clarification (7 %) is involved in a situation of inability of the addresser of the interruption to understand the wishes of a communicative partner, the main goal, key idea, or some points of the situation. This tactic is implemented mainly with the help of interrogative sentences, which may also be re-askings or echo-questions (often containing lexical entrainments) and questions that include reformulation of the utterance of a communicative partner. The phrases You think, Your idea is, What you mean is, Your point is, You saying, What you are saying is help to adhere to the Politeness Principle. The next example, on the other hand, shows that the Politeness Principle is not always maintained within this tactic:

»29) “Yes, sir. In Mrs. Quirk's case, what we'll do, what I'll do, probably – most women and girls seem to feel more at ease with another female – so what I'll do is get down on the floor with her. Have her get inside the cabinet and close the door. And then, while we're sitting there, I'll interview her. Record her recollections. We find that on-site interviews are effective in–” “Is it cleaned up?”
“The crime scene? No, sir. Everything has to be left as is while the investigation is ongoing. With the exception of the bodies. We've put cards down where the victims were” (Lamb 2008: 267).

»The tactic of drawing attention (2 %) consists in attempting to focus the partner's attention on what might be interesting or useful for him at some point of communicative interaction. This tactic involves the use of exclamatory sentences (Attention!), requestive speech acts, expressions such as Look, See, Pay your attention to <...>:

»30) “It's unsigned,” she said. “But my god, it looks an awful lot like–”
Annie interrupted her. “Look at the back.”
When she did, “Viveca read aloud what was written there.” This painting is a gift to Mr. and Mrs. Skloot. I call it “The Cercus People”. I hope you like it. Joe J. November 1957. Annie noted that he must have meant circus people (Lamb 2013: 246).

»The intrusive strategy

»The intrusive speech strategy (non-cooperative) is by nature confrontational, aimed at distancing and domination. The tactic of persuasion (2 %) is used by the communicants who are confident in the accuracy and consistency of their actions, decisions, attitudes, beliefs, and positions, in what they aim to reassure a communicative partner. The basis for the implementation of this tactic is clear and consistent argumentation, the use of prompting examples, accurate expressions / lexical units, modal verbs (must, could, may, might, can't – the order of these verbs shows the degree of probability), that indicate confidence, express logical conclusion (must – “logically possible”, can't – “logically impossible”), and expressions that help to demonstrate their own position clearly (I think, I'm sure, I mean, I'm certain):

»31) 00.03.50 Monica: He's not great umm, but he's dealing with it. Oh wait a minute, you're not gonna try–
00.03.55 Rachel: Oh, honey, please, no, I can't get started with all that Ross stuff again. I mean, he's gonna screwed up for a looong time. And besides y'know, I don't, I don't go for guys right after they get divorced.
00.04.05 Monica: Right, you only go for them 5 minutes before they get married (Friends 5/07, video).

»The tactic of self-presentation (1 %) is directed to create the desired impression of oneself and draw the attention of a partner:

»32) “Uh-huh. And are we going to have to wear matching T-shirts or chastity belts or something? I can't wait to see that logo.”
“Tracy–”
“I think having rules or guidelines or a mantra of some sort would be fun,”
Diane chimed in, interrupting what could've been the Club's first official fight (Eulberg 2010: 42).

»The phrases I think, I believe, I'm convinced, Knock knock, This is me (who), Here I am, It's me here + (a description of their own merits, advantages, position), and also I-sentences, me-sentences help to realise this tactic. The motive of power, domination, preservation of own interests, maintaining a good image, the need for approval and respect are at the core of this tactic. This tactic can also be implemented to avoid setbacks and failures:

»33) I ran downstairs just in time to hear Dad tell Ryan, “You know, I think it's good that bands want to keep the music alive, but the audience shouldn't kid themselves–”
“Here I am.” I interrupted. I was afraid that Ryan would bolt out the door if my parents kept this up (Eulberg 2010: 74).

»The tactic of threats / warnings (1 %) expresses willingness and readiness to perform verbal or non-verbal actions that may harm the addressee of the interruption. Such interruptions often contain phrases that indicate warning and threat (I warn you, I'm telling you), and utterances that express restriction and condition If you <...>, I <...>, Back off or I will, indicating the possibility of avoiding the presented scenario:

»34) “I've never heard such terrible lies in my whole life.” Eve's voice was quivering with indignation. “Don't think I'm not going to report this to my grandmother. When she hears–”
“I will spare you the trouble,” the headmistress interrupted. “I would prefer to avoid embarrassment to L'Institut Fernwood, but if you do not leave quietly, I have a list of names I intend to send to your grandmother” (Sheldon 1982: 142).

»In other cases the speaker, who interrupts their partner, expresses their resolve to take actions that are almost impossible to avoid (I will / I'm gonna kill you / hurt you / hunt you down). This tactic may be implemented without violating the Politeness Principle; a threat or warning will be expressed implicitly (My lawyer will call you). This tactic is embodied mainly by promisive and menasive speech acts.

»The tactic of demonstrating power / status (2 %) is manifested by the expression of the speaker's superiority, preferences, and priorities in relation to a communicative partner. The basis of this communicative behavior is asymmetrical relationship between speakers (the head – the subordinate, the judge – the accused, the man – the woman).

»The interruptions with this tactic are characterised be neglect of the Politeness Principle, the use of injunctive speech acts (Stop talking!), rhetorical questions, negative assessments of a partner (It does not make sense!), mockery (You are silly!), emphasis on failures (You didn't think; You can't do everything in time!). Interruptions of this kind are typical mainly for speech behaviour of the superiors in conversation with the subordinates, where the point of view of the subordinate is not taken into account:

»35) 00.06.44 Tom Stansfield: But, sir, l didn't say–
00.06.45 Jack Taylor: Audrey? Which file did l ask you for?
00.06.49 Audrey: Uh, the Platt file?
00.06.51 Jack Taylor: John Platt, Not Sam Platt.
00.06.53 Audrey: I'm sorry, I guess I didn't think that–
00.06.55 Jack Taylor: That's right, You didn't think. Now if it's not too much trouble, if you could fetch me the right file.
00.07.02 Audrey: OK (My boss's daughter, video).

»The interruptions involving this tactic are present in the speech of people who occupy high social level or hold high positions:

»36) 00.26.38 Joy McNally: I don't at the moment, Your Honor, but I will. You see, I... My ex-fiance and I broke up, and–
00.26.45 Judge:You know, Mrs. Fuller, you're not helping make your case here, okay? What about you, pretty boy? You got a crash pad?
00.26.53 Jack Fuller: Yes (What happens in Vegas, video).

»The tactic of pressure (1 %) is intended to force a communicative partner to make concessions in order to have a positive result for the addresser of the interruption. To realise this tactic a speaker may involve injunctive speech acts (Tell me the truth!), exclamatory sentences, violate the Politeness Principle, give an ultimatum (If you <...> I will <...>), or intimidate a communicative partner. A reaction to this tactic may be of two types: a defensive position or willingness to give up. The example shows the second scenario:

»37) “I uh – I'm sorry I should have called–”
“Tell me, goddamn it!”
“We c-can't find Amy,” I stuttered (Flynn 2012: 39).

»The tactic of reproach (3 %) is aimed at evoking the feeling of guilt often violating the Politeness Principle. This tactic may involve humiliation, emphasis on negative traits or inappropriate verbal / non-verbal behavior. Thus, a speaker does not care for the preservation of face. In the example the addresser of the interruption is reproaching his partner for mockery:

»38) “Maureen, you're what? Five-four? Klebold must have gone six-three, six-four. You would've had to stand on a chair before you hit him with one. And what was his buddy going to do? Stand there and wait his turn while Wonder Woman–”
“Don't make fun of me!”
“I'm not, babe. I'm sorry. I just... look, you have to give yourself a break here. You did the only thing you could do. You survived” (Lamb 2008: 200).

»This tactic can also be implemented by means of emphasising the verbs do / did: And you did nothing!, What you did was nothing!, That's all what you did.

»The tactic of accusation (1 %) consists in the expression of negative attitude to the actions or inactions of a communicative partner that could negatively affect the addresser of the interruption, their comfort. The following phrases help to implement this tactic: It's (all) your fault, You are bothering me / giving me headache. Blaming their partner a speaker may also use rhetorical questions, negative sentences (I don't <...>, You don't <...>), such stylistic figures as emphasis and antithesis, lexemes and utterances that express negation (never, dis + root, un + root, non + root, in + root, mis + root, im + root, ir + root, root + less) due to experiencing of negative emotions, modal verbs denoting the need to perform an action (I / we / you needed / should have had). Such interruptions force the addressee to apologise. The following example demonstrates the tactic of accusation:

»39) “I saw your – I read this article about you, and it say that you were born in Philadelphia.” His voice grew enthusiastic. “I was born there, too, and when I sat your pictures, I felt like I knew you and–”
Kelly said coldly, “You don't, and I don't like strange men bothering me.”
“Oh, I'm sorry.” He swallowed (Sheldon 2004: 71).

»The tactic of negative evaluation / insult (2 %) is associated with the expression of negative attitude towards a communicative partner, their verbal or non-verbal behavior, expression of disapproval of the views, decisions, beliefs, traits of character, actions, or appearance. Such a negative evaluation may also be accompanied by a commentary. This tactic may be implemented using the following phrases: I don't like your <...>, You (are) +adj. / noun expressing negative attitude, Your <...> is disgusting, hideous, stupid, And for you to <...>. To express a negative assessment one may use coarse language that expresses insult and humiliation (dull, idiot, stupid), mockery, and jeering. In the next example negative assessment is combined with contempt for the addressee of the interruption:

»40) 00.15.12 Officer: Ma'am–?
00.15.14 Lynette: (gets right in the policeman's face) And for you to stand there, and judge me.
00.15.27 Officer: Okay. I'm not gonna give you a ticket. I'm just gonna let you off with a warning (Desperate housewives 1/2, video).

»The tactic of censure (2 %) implies negative attitude towards verbal behavior, nonverbal actions, decisions, opinions, or inactions of the addressee of the interruption. Often this tactic involves the use of phrases like I can't understand why, What the hell, Why on Earth, How could you, quesitive speech acts, rhetorical questions, and vocabulary with negative connotation. Besides, this tactic involves the violation of the Politeness Principle:

»41) “We're not sure. I left this morning, a little after seven–”
“And you waited till now to call us?”
“I'm sorry, I didn't want to—”
“Jesus Christ. We played tennis tonight. Tennis, and we could have been… My God. Are the police involved? You've notified them?” (Flynn 2012: 39).

»The tactic of order (9 %) is aimed at prompting the addressee of the interruption to certain actions imposed by the addresser. This tactic is implemented mainly through injunctive speech acts and imperative forms of verbs: Don't do this, Go home!, Tell me the truth, and, as a result, the Politeness Principle is violated:

»42) “He doesn't have to go to school,” said Charles. “He can do whatever he fucking pleases. He can fail every single fucking class and his dad'll still send him that fat allowance check every month–”
“Don't say 'fuck' anymore,” said Henry, in a quiet but ominous voice.
“Fuck? What's the matter, Henry? You never heard that word before? Isn't that what you do to my sister every night?” (Tartt 1992: 379-380).

»The tactic of questioning (3 %) consists in asking questions ignoring the remarks of a communicative partner, his desires, and goals. This tactic is embodied mainly by the quesitive speech act. Since the addresser of the interruption does not care about the preservation of face and cooperation within the Politeness Principle, the questioning tactic is perceived by a partner as inappropriate and unacceptable:

»43) “Are you Mr. Quirk?”
“Yeah, but look. No telemarketing at this number. Take us off your–”
“Do you know who Maureen's out with?”
I uncapped my pen. Tore off a piece of some kid's blue book to jot down her number. “Excuse me,” I said. “Who'd you say this is?” (Lamb 2008: 8).

»The tactic of topic changing (7 %) implies a violation of the postulate of relevance or relation, the Politeness Principle and involves the change of a theme. Therefore, relevant to a communicative partner topic is being ignored:

»44) “Try sleeping when you're a single mom,” Layla said. “Last night–”
“Well, then,” Viv interrupted. “You're all set. Concourse B, gate thirty-six.”She handed me my boarding pass. “Have a nice flight” (Lamb 2008: 65).

»Interruptions within this tactic may be accompanied by expressions such as Well, then, Wait a minute, but they are optional because the shift is mainly made without any markers, with a sharp change of a theme vector.

»The tactic of resentment / dissatisfaction (2 %) implies the loss of self-control, restraint and, consequently, high emotional tension, dissatisfaction, irritation, and disapproving attitude due to actions of a communicative partner. For the realisation of this tactic the addresser of the interruption may use exclamations, orders (Don't talk about him any more!), questions (Why did you do that?), questions with exclamation marks (Why do you tell it to me?!), the vocabulary with negative connotation, which reflects the emotional state of a speaker (boring, disgusting, hideous, abominable, revolting, nasty, loathful, repellent), negative sentences (You can't (just) do (that)) and violate the Politeness Principle:

»45) “You are such a–” Alex threw his hand over my mouth. I thought about biting it, but then decided against it. I'm not sure why.
“Alex!” Aislin exclaimed. “You can't just do whatever you want with her” (Sorensen 2011: 454-455).

»The tactic of manifestation of doubt (1 %) is associated with hesitation concerning the veracity of the parner's point of view. For explicit manifestation of doubt communicants may use the following expressions: I doubt it, It's apparent / obvious / doubtful / clear that, I doubt if + that-clause, I am not certain + that-clause, It looks (to me) as if / as though; adverbs with negative meaning (hardly, scarcely), seem / assume to (be), might + Indefinite (Perfect) Infinitive (for a high degree of doubt); can, can't, will, would, should, ought to, have to, be to + Indefinite (Perfect) Infinitive (for a smaller degree of doubt); and lexemes that indicate fallacy of a communicative partner: mistake, be wrong, err, misunderstanding, oversight; adverbs maybe, perhaps, arguably. The next example shows the tactic of manifestation of doubt:

»46) “Madame–”
“There is some – some mistake,” Kelly said. “Mark wouldn't–”
“I am sorry.” The chief inspector was watching Kelly closely. “Are you all right, madame?” (Sheldon 2004: 47).

»The tactic of rejection / disagreement (14 %) consists in the manifestation of dissent in respect of the information or actions of a communicative partner that may occur with preservation of the Politeness Principle with the help of the following expressions: That's very kind / nice / sweet of you, but <...>, Thank you for your offer / present / invitation, but <...>. The embodiment of this tactic has two components: gratitude / highlighting the positive aspects / quality of a communicative partner + rejection / disagreement. Moreover, the refusal may be supported by the causative component (I don't think I can):

»47) When Alexandra and George returned from their honeymoon, Kate told them, “I'd like you to move in here with me. This is an enormous house, and we wouldn't be in one another's way. You–”
George interrupted. “That's very kind of you,” he said. “But I think it would be best if Alex and I had our own place” (Sheldon 1982: 174).

»However, most speakers disregard the Politeness Principle. In this case, the speaker who interrupts, uses the expression like No., No, I wouldn't do that, That's out of question, I don't want (to) / need (to) <...>, I don't think it's right / it will do, No way.

»The tactic of evasion from answer / theme (2 %) is associated with the lack of desire or capacity (due to the lack of sufficient experience or awareness) to maintain the conversation within a pre-selected theme. The tactic of evasion is realised in compliance with the Politeness Principle using the phrases Sorry, I don't want to discuss that, It's painfull for me to talk about that, or without the Politeness Principle using the phrases I don't think that's <...>, It's / this is none of your business, Stay out of it, and answering the question with a question:

»48) “Go sit down so I can look at that.” I shook my head, my hand still grasping at my wounded side. “Not until you tell me where we are? And how in the world we got here? And–”
Alex cut me off. “I really don't think that's the most important thing right now, considering you have a piece of glass sticking out of your rib.”
He had a point, I guess, but I deserved some answers. “Fine. I'll go sit down. But I'm not going to drop this. You are going to tell me what's going on” (Sorensen 2011: 250-251).

»The tactic of contact termination / ignoring (6 %) is related to the unwillingness or inability of the speaker, who interrupts, to continue the communication. Communicants, who interrupt their partners, force them finish the interaction without preservation of the Politeness Principle using the phrases: Stop!, Ring off!, Shut up!, Shhh, Go away!, Stay away!, Shut your mouth! Shut your trap!, Turn it up!; or preserving this principle, using arguments and alternative suggestions (I'm short of time. Let us discuss it next time. / Can we talk about it later?). The following example demonstrates the tactic of contact termination / ignoring:

»49) “That's not what I was told.” The smug look Laylen was giving Alex made me wonder if there was some kind of bad history between them. “From what Aislin said you–”
“Laylen,” Aislin hissed. “Shut up” (Sorensen 2011: 303-304).

»In conclusion, speech interruptions may occur within two communicative strategies: the cooperative and the intrusive (non-cooperative). Each of these strategies has its own set of tactics, which help to realise speaker's intentions, for example, to dominate in the conversation, change the theme, define the status, take the initiative, humiliate a partner, or to continue the conversation, establish contact between communicants, cooperate, express consent and support, encourage further interaction.

»Discussion and concluding remarks

»The situation of interruption is a micro situation within the sphere of communicative interaction, so it has its own structure. The pre-verbal stage of the interruption is marked by the formation of goals, situation and context development that will accompany the interruption. The verbal stage of the interruption has three phases: the pre-interruption, interruption, and post-interruption phase. The post-verbal stage of the interruption begins when the conversation is finished. It is marked by the results processing and sometimes by the alterations in the conceptual system of the speakers. These stages form the communicative situation of interruption.

»If we juxtapose the interruption with the speech act theory, we may notice that the most common speech acts that help to interrupt a person are injunctives and constatives. Injunctives are used mainly when the speaker, interrupting their partner, wants to turn the conversation in the needed direction, encouraging the addressee to perform some actions. Injunctives prevail in intrusive interruptions. Constatives, on the other hand, are the utterances that reflect facts. This speech act is common for both, intrusive and cooperative interruptions.

»Taking the cognitive-pragmatic nature of the phenomenon of interruption as a basis, we may single out two communicative strategies. These are the intrusive and cooperative strategy. The cooperative strategy of the interruption is characterised by adherence to the principle of cooperation and the Politeness Principle, and maximisation of efforts to preserve face. The intrusive strategy is aimed at achieving the goals regardless of the needs and wishes of a communicative partner.

»That is why this strategy is associated with a violation of the Politeness Principle and the principle of cooperation. The speakers, who interrupt in terms of this strategy, do not care for the preservation of their face. Within these strategies the speakers resort to certain tactics that comply with goals and peculiarities of a communicative situation. The perspective of the further research is the study of the interruption in homogeneous and heterogeneous communicative groups».

«Los impulsos que se necesitan para que la industria creativa brille»

Redacción Tecnósfera (@TecnosferaET)
EL TIEMPO (@ELTIEMPO)

«Las artesanías, la música, la gastronomía, la producción audiovisual y hasta los videojuegos forman parte de un importante segmento económico que se ha buscado impulsar en los últimos años y podría saltar al estrellato después de esta coyuntura».

«Consulte la guía de inversión extranjera en www.investinbogota.org en la sección Cómo invertir».

«Según datos de una caracterización del sector efectuada por la Cámara de Comercio de Bogotá, para 2018 más de 539.000 trabajos estaban relacionados con las industrias creativas, que son el 3,2 % del PIB de Colombia.

»Sin embargo, la caracterización de qué sectores hacen parte de esta industria atraviesa profundos debates sobre la propiedad intelectual, la apropiación cultural, el acceso a la información y la gestión del conocimiento.

»Por eso, sectores tan diversos como la moda, la joyería, el folclor, la industria editorial, la producción fonográfica y el software son reunidos en los esfuerzos de priorización para la protección, difusión y comercialización del sector naranja. Además de los incentivos contemplados, como las rentas exentas por 7 años, distintas entidades han buscado cultivar clústeres y áreas de desarrollo que promuevan el emprendimiento.

»Según Invest in Bogotá, la industria vive un momento de consolidación y se prepara para competir con países como México, Argentina o Brasil. El grupo asegura que hay expectativa y disposición para retomar actividades bajo los protocolos que se establezcan.

»Sin embargo, dentro de esa gran sombrilla, como apunta Jesús Villamil, profesor de la Facultad de Ciencias Económicas de la Universidad Nacional y experto en planeación nacional y desarrollo empresarial, algunos sectores han quedado en pausa para atender las medidas de distanciamiento social por la covid-19.

»“Hay actividades que se van a ver limitadas en el corto y mediano plazo, como el turismo, con exponentes culturales como los carnavales o los festivales, mientras que otros sectores como el editorial, los medios o el desarrollo de software podrían impulsar el crecimiento y fortalecerse más rápidamente”.

»En concepto de Villamil, el gran reto sigue siendo tener los mecanismos adecuados para el apoyo empresarial y la articulación. “Cuando uno observa países en los que realmente han priorizado el sector, han usado unos incentivos más agresivos, tanto en presupuesto público como en levantamiento de capital” señala.

»Así mismo, sostiene que los planes de desarrollo local no reflejan, en su mayoría, los lineamientos o la voluntad de priorización. “Teniendo en cuenta que varias actividades del sector se refieren a cosas que ocurren en los territorios, se necesitan más orientaciones y mecanismos de fomento en las regiones, más allá de las principales ciudades”, afirma.

»Por otra parte, como lo plantea el emprendedor Mauricio Betancourt, cofundador de Indie Level Studio, la búsqueda de tecnología que apalanque los saberes más culturales sería un camino. “A las empresas les daba miedo no entender la tecnología, pensaban que era una forma de reemplazarlos o sacarlos. Ahora, en esta coyuntura, las personas han empezado a buscar estas herramientas para reinventarse y encontrar soluciones a sus problemas”.

»INDIE LEVEL STUDIO

»Mauricio Betancourt cree que los videojuegos actualmente están haciendo un cambio en el mundo porque gracias a las metodologías de gamificacion que se están implementando en las aulas de clase, la información es mucho más efectiva.

»“Le hemos apostado muy fuerte a eso con Indie Level Studio con un juego llamado Terra, en el que a través de consejos para cuidar el medioambiente se aprendía matemáticas o biología”.

»Indie Level Studio nació hace cinco años como un proyecto a través del cual las empresas podían contratarlos para, por medio de los juegos, enseñar, vender y capacitar.

»Para este emprendimiento, que en los últimos meses venía trabajando casi en un 40 por ciento con la realidad virtual, la pandemia ha sido todo un reto. Pero, en opinión de Betancourt, al ser una industria creativa y ligada a la tecnología, “hemos mirado nuevas plataformas y estamos buscando ayudar a quienes necesiten reinventarse”.

»STEREOTHEQUE

»Tomás Uribe fundó hace dos años Stereotheque, una red de mercado laboral que conecta a jóvenes creativos con oportunidades en música, medios y entretenimiento.

»Según cuenta Uribe, aunque la pandemia ha presentado dificultados, también ha generado oportunidades. “Nosotros, cuando se empezó a agrandar el tema de la cuarentena, lanzamos una aplicación que se llama CovidAID, una plataforma a través de la cual se puede ayudar a músicos y creativos a navegar entre los diferentes incentivos financieros que hay en Latinoamérica, EE. UU. y Europa”.

»De acuerdo con Uribe, “siempre que hay una crisis, las cosas que son intangibles son las que más nos unen; por ejemplo, la música”. Y afirma que “definitivamente, la creatividad es una gran forma no solo de mostrar unión, sino también la resiliencia que tenemos cuando queremos pasar la página y seguir adelante. Algo que es vital para superar la crisis”.

»Así mismo, señaló que en los países con economías emergentes, al tener la necesidad de utilizar una nueva tecnología, es común que estos las adopten más rápido y, también, que se creen nuevas oportunidades. “Lo importante es que el producto tenga un valor”.

»ARTRADE

»El arte es la capacidad del ser humano de expresar una visión sensible acerca del mundo, ya sea real o imaginario. En ese sentido, Artrade busca visibilizar y fomentar el arte colombiano independiente mediante espacios cercanos a la cotidianidad, como la tecnología, volviéndolo asequible para aquel que se interese.

»Hoy, Artrade es una galería virtual que además de visibilizar a los artistas les permite aprender sobre temas de mercadeo y finanzas para posicionar sus obras en el comercio electrónico.

»Como su éxito se ha dado gracias a la tecnología, ante la coyuntura mundial, Artrade no tuvo que reinventarse, pero sí se vio en la obligación de innovar su contenido, permitiendo así a las personas explorar desde casa su creatividad por medio de cursos gratuitos, kits de arte y tareas artísticas para los niños.

»Sylvia Barerro, CEO de la compañía, dice que su objetivo es que “la gente entienda que el arte no es solo para personas con poder adquisitivo ni debe estar encerrado en cuatro paredes en una galería, el arte siempre debe estar al alcance de todos”. Hasta el momento, Artrade cuenta con más de 800 clientes en seis países y 290 artistas inscritos en la plataforma».

.../... Lee todo en EL TIEMPO

«La promoción de las “economías creativas” a través de la atracción de las “clases creativas” para conformar ambientes creativos, redes y conglomerados (clústeres) de innovación, dando lugar a la generación de “ciudades creativas”, se erige como una retórica destacada»

Julieta Infantino
«Arte y Transformación social. El aporte de artistas (circenses) en el diseño de políticas culturales urbanas»
Cuadernos del Centro de Estudios en Diseño y Comunicación, n.º 71 (2019)
Número temático: «Cruces entre Cultura y Diseño: repensando el diseño de los procesos culturales y los abordajes culturales del diseño»

Cuadernos del Centro de Estudios en Diseño y Comunicación | Universidad de Palermo (@udepalermo) | Facultad de Diseño y Comunicación | Buenos Aires | ARGENTINA

Se incluye a continuación un extracto seleccionado de las páginas 78 a 81 de la publicación en PDF. Las referencias pueden consultarse en la ubicación original.

Enlace HTML.

VÍDEO. Meet The Artists! Under The Same Sky by Cirque du Soleil (@Cirque).

«De las Políticas culturales al impacto económico y social de la cultura

»“Las nuevas políticas culturales van más allá de disciplinar o normar a los ciudadanos –según el análisis foucaultiano extendido a las políticas culturales por Tony Bennett y otros estudiosos angloaustralianos– y se convierten en políticas económicas”. (Yúdice, 2008, p. 50)

»El proceso por el cual la justificación de la inversión pública en la cultura y las artes se asentó primero en criterios de rédito económico durante los años 1980 y luego en los posibles efectos sociales que la cultura y las artes traerían como solución a problemáticas de índole social en los 1990, se presenta como un proceso central para pensar al campo arte-transformador.

»Aquí resulta de interés el análisis desarrollado por Eleonora Belfiore (2002) en el cual se propone atender a este proceso de justificación de la inversión pública en las artes en función del rédito económico durante la neoliberal Inglaterra de los 1980. En dicho contexto se debatía la responsabilidad del Estado en la preservación, difusión y promoción de “la cultura”, centralmente desde una política que se proponía reducir el gasto público y engrosar el sector privado.

»Asimismo se asistía a una revisión de los lineamientos que habían caracterizado a las políticas culturales desde los años de la post guerra, destinadas a garantizar el “acceso” y la “excelencia”, llevando “alta cultura” a la gente para “beneficiarla” (Belfiore, 2002) y, agregaría, para “civilizarla”. Esa actitud paternalista y elitista ya no era aceptable en los nuevos tiempos, por lo cual:

»“En este nuevo clima de incertidumbre acerca de los futuros niveles de gasto público, se creyó al interior del mundo del arte que, en función de sobrevivir, el arte necesitaba argumentar de manera sólida en contra de mayores reducciones en los financiamientos”. (Belfiore, 2002, p. 94 [mi traducción])

»Así comenzó a asentarse el énfasis en los aspectos económicos del arte y sus contribuciones al bienestar y el desarrollo de las ciudades. Este corrimiento del sector artístico hacia el lenguaje económico/empresarial, que se plasma en cambios semánticos –ya no se habla de “producciones” artísticas sino de “productos”, las “audiencias” pasan a ser “consumidores”, los “subsidios” pasan a concebirse como “inversiones”– en sus orígenes debe ser visto como una estrategia de supervivencia de los propios artistas en la que se buscaba “hablar el mismo lenguaje que el gobierno” (Belfiore, 2002). Sin embargo, este pasaje va a ir instalando una nueva racionalidad en las políticas culturales, reforzada por estudios cuantitativos que intentan relevar el impacto económico de las artes en términos de creación de empleos, promoción turística y regeneración urbana.

»Lo interesante del planteo de la autora para nuestro caso de estudio se vincula a su argumento en relación a la característica que se sumará en los años 1990 en relación a la justificación de la inversión pública en el arte como instrumento para fomentar la inclusión social. Belfiore sostiene que la oleada de proyectos de inversión inspirados en “regenerar” las antiguas ciudades industriales europeas y convertirlas en “ciudades creativas” a partir de mejorar la imagen urbana evidenciaron notables fracasos y comenzaron a ser criticados, siguiendo a David Harvey (1989), como una “máscara carnavalesca” usada por políticos locales y nacionales para encubrir persistentes inequidades en el crecimiento económico y notables desigualdades sociales (Belfiore, 2002; Yúdice, 2008).

»En consonancia con estos fracasos y en relación con un nuevo interés por mejorar la calidad de vida de las personas, las dimensiones sociales de la regeneración urbana se convirtieron en un nuevo foco de atención, en Inglaterra y en la Comunidad Europea. Aquí, dirá la autora, se añade un nuevo elemento vinculado a la proliferación de la inversión pública en las artes desde agencias estatales no específicamente artísticas –provenientes del sector de salud o de servicios sociales, entre otros– menos preocupadas por consideraciones estéticas o económicas y ponderando el impacto social del arte.

»En función de este recorrido sobre la política cultural inglesa (y, en cierta medida extensible a Europa) Belfiore concluye que:

»“A pesar de la retórica de los organismos de financiación (en torno a las palabras clave de la participación, empoderamiento, cohesión social, crecimiento personal y comunitario, que recuerda a los debates de los años setenta sobre democracia cultural), las políticas actuales en el ámbito cultural son la derivación de las teorías instrumentales de la cultura que dominaron el debate político en los años ochenta”. (Belfiore, 2002, p. 97 [mi traducción])

»Si ahora movemos el foco hacia Latinoamérica en los años 1990 post Consenso de Washington, nos encontraremos con que luego de una nueva crisis cíclica del capitalismo – crisis de acumulación de capital– organismos financieros internacionales, como el Banco Mundial y el Fondo Monetario Internacional, comenzaron a lanzar sus programas de ajuste estructural que integraban diversas áreas de reforma política (Murillo, 2006).

»Aquí comienza a diagnosticarse como motivo central del “retraso” o “subdesarrollo” de los países pobres ya no sus “falencias culturales” y su falta de infraestructura –al estilo en el que se había argumentado a partir de la “teoría de la modernización” desde los años 1940 (Balazote, 2007)–, sino al “excesivo crecimiento” de las instituciones estatales. En consecuencia, en América Latina se abandonan las estrategias de desarrollo propias de las décadas anteriores para volcarse definitivamente hacia tendencias neoliberales.

»En este contexto, en términos de políticas culturales, comienza a virar el tipo de justificación de la inversión pública en la cultura y las artes. En sintonía con el clima de época, la reducción de las funciones del Estado en materia de garantización de derechos, se convertirá en discurso hegemónico. Si bien, siguiendo a García Canclini (1987), la privatización neoconservadora de la cultura ya traía un recorrido desde los años 1970, para fines de los años 80’, que es el contexto en el que está escribiendo, ya se podía observar lo que en la década neoliberal por excelencia se agudizaría en distintos países de la región y particularmente en Argentina.

»Hoy la tendencia dominante en las políticas culturales es el desplazamiento de la acción estatal a la producción y apropiación privada de los bienes simbólicos (…). La reducción de los fondos públicos y las exigencias de productividad impuestas por la tecnocracia monetarista en todas las áreas, lleva a los Estados a reducir las acciones “no rentables” y los eventos que “no se autofinancien” (el teatro, la música y las artes plásticas, especialmente sus líneas experimentales) y concentra la política cultural en la promoción de grandes espectáculos de interés masivo. (García Canclini, 1987, p. 45)

»La reducción del gasto público que resaltaba García Canclini implicó no solo la valoración de la cultura en términos “rentables”, sino que al igual que en Inglaterra y Europa, derivó unos años después en una justificación instrumental del recurso de la cultura en función de aportar soluciones a las consecuencias del modelo neoliberal impuesto en la región. Durante los años 1990 se expanden las estrategias promovidas por los discursos de los organismos internacionales tendientes a fomentar el “empoderamiento” de distintos actores sociales a través de “la cultura” como herramienta de lucha contra los efectos pauperizantes del desarrollo económico neoliberal, las reformas del Estado y el avance del mercado.

»El incremento de la violencia, la inseguridad y el “riesgo social” son apreciados como consecuencia de la fragmentación de los lazos sociales, de la debilidad de las instituciones en tanto agentes excluyentes y, finalmente, de la falta de participación de los sujetos. Siguiendo el análisis propuesto por Susana Murillo, para el Banco Mundial, por ejemplo, la “desigualdad” es objeto de preocupación ya que impide la reducción de la pobreza y esta última implica un riesgo social que debe ser “gestionado”. La “gestión del riesgo social” consiste en elaborar las estrategias adecuadas para su prevención, mitigación y manejo, a fin de que su impacto sea mínimo (Murillo, 2006).

»En efecto, la conversión de las políticas culturales en políticas económicas y sociales se agudizará en los años 2000, colocando a la cultura como “la solución” para enfrentar los efectos del neoliberalismo, ya sea desde un discurso de inclusión –contención, asistencia, prevención, control– de las poblaciones vulnerables como desde los beneficios económicos que la creatividad, la cultura y el arte traerían aparejados para las cada vez más desiguales ciudades del mundo. En definitiva, impacto económico e impacto social del arte y la cultura se erigen como dos dimensiones desde las que se intentan resignificar las estrategias de desarrollo (Kliksberg, 1999).

»En dicha resignificación diversas agencias internacionales –desde la Unión Europea, el Banco Mundial (BM), el Banco Interamericano de Desarrollo (BID) y las principales fundaciones internacionales–, comenzaron a percibir que la cultura constituía una esfera crucial para la inversión. Tal como señala Yúdice, apropiándose de una retórica “holística del desarrollo”, propondrán utilizar el recurso de la cultura para promover la capacidad de acción o empoderamiento de los pobres, de manera que puedan contar con los recursos sociales y humanos que les permitan soportar “el trauma y la pérdida”, detener la “desconexión social”, “mantener la autoestima” y a la vez generar recursos materiales (Yúdice, 2002).

»Muchas de las propuestas arte transformadores como la que analizaré específicamente a continuación, surgen y/o se afianzan en el contexto de época que recorrí y se vieron influenciadas por los discursos que fueron instalando la instrumentalidad de la cultura para el desarrollo económico de las ciudades y la inclusión (control/gestión) de los sectores desfavorecidos –pobres, y sobre todo, jóvenes. No obstante, de modos complejos y no sin conflictos fueron luchando por sostener otras modalidades de pensar las propuestas socio-artísticas que disputen su mera instrumentalidad».

«Autopublicação: como publicar e lançar o próprio livro» | Vidaria Livros

Gabriela Gasparin (@Gabigasparin)
Vidaria Livros vidarialivros.com.br

« Covid-19 : le secteur du livre dans l’expectative »

Sabine Audrerie
La Croix (@LaCroix)

« À l’arrêt depuis un mois à la suite de la pandémie du coronavirus, l’édition pourrait reprendre son activité à partir du 11 mai. Des mesures spécifiques seraient adoptées pour la vente des livres et la réouverture des librairies.

» “L’activité s’est arrêtée net ”, résume Vincent Monadé, président du Centre National du Livre (CNL). L’année avait bien commencé pour le secteur, avec des ventes reparties à la hausse en janvier après des mois difficiles.

» L’arrêt des activités à la suite de la pandémie du coronavirus, pour tous les professionnels du secteur ou presque (quelques points de ventes type hypermarchés et maisons de presse continuaient de proposer quelques ouvrages), a ouvert une période d’incertitude pour toute la chaîne, des éditeurs aux libraires en passant par la diffusion-distribution et bien sûr les auteurs. La perte de chiffre d’affaires pour l’année pourrait être de – 20 %.

» Le président Emmanuel Macron, dans son allocution du lundi 13 avril, n’a pas mentionné les libraires parmi les commerces devant rester fermés. Les librairies devraient donc rouvrir le 11 mai, si les conditions sanitaires sont réunies.

» Comment rouvrir les librairies ?

» “La réouverture des librairies est souhaitée et souhaitable, confirme Vincent Monadé sans pouvoir en préciser à cette heure les modalités ni le calendrier. Il faut reprendre la vente de livres et faire redémarrer l’économie du secteur. Ce redémarrage sera lent et difficile, et l’activité normale ne reprendra probablement pas avant septembre ou octobre. Aujourd’hui on est sur une perte d’activité de 85 %, voire 100 % pour certaines librairies qui ne proposent pas de vente numérique en ligne. Les éditeurs vendent un peu en numérique, ont encore quelques commandes qui passent, mais très peu. ”

» Le Syndicat de la Librairie Française (SLF) a réagi à l’allocution présidentielle en demandant qu’un “protocole sanitaire fixant les règles à l’égard des salariés et des clients soit défini par le gouvernement ”. Le SLF a aussi attiré l’attention sur un risque de débordement de livraisons par les éditeurs à la réouverture, invitant à “la plus grande prudence sur le plan commercial. Nous demandons ainsi aux fournisseurs de limiter très fortement leurs prochains offices de nouveautés et de ne les lancer qu’à partir de juin ”.

» Plusieurs libraires, partout en France, ont depuis quelques semaines pris des initiatives isolées de livraisons à leurs clients, ainsi que des possibilités de retraits en magasins, comme le propose par exemple le collectif parisien Librest.com. Le ministère de la culture pourrait souhaiter voir ce système, le “click-and-collect”, se généraliser.

» Le CNL a mis en place rapidement plusieurs aides d’urgence pour les professionnels du livre, avec un plan spécifique de 5 millions d’euros, complémentaire au plan gouvernemental. Une enveloppe qui pourrait être suivie de plusieurs autres, selon l’évolution des besoins.

» 500 000 € ont déjà été engagés pour les petites maisons d’édition indépendantes qui ne peuvent pas bénéficier des dispositifs de chômage partiel, par exemple parce qu’elles n’ont pas de salariés. 500 000 € ont par ailleurs été débloqués pour les libraires francophones dans le monde, qui ne bénéficient d’aucun dispositif de soutien par ailleurs.

» Un dispositif à préciser

» Pour les auteurs, un statut qui recouvre des situations extrêmement variées et diverses, 1 million d’euros a déjà été engagé par le CNL. Ce fonds, géré par la SGDL (Société des Gens de Lettres) à travers une commission qui se réunira dans les prochains jours, sera réparti en bourses individuelles pouvant aller jusqu’à 1 500 €.

» Le ministère de la culture, qui travaille actuellement aux modalités du plan de reprise des activités annoncé par le Président de la République, pourrait préciser dans les prochains jours les mesures prévues pour chaque secteur. »

.../... Tout lire sur La Croix

«La exposición mediática ha hecho que exista una creciente tendencia a prestar atención no solo al contenido, sino también a la forma de redactarlo»

Esta página se publica actualizada en esta nueva dirección: https://plaka-logika.blogspot.com/2024/03/las-iniciativas-en-favor-del-buen-uso.html.

« Jean de La Fontaine, une vie qui éclaire l’oeuvre »

France Culture (@franceculture)

VÍDEO. Jean de La Fontaine. Quelle Histoire Éditions et TV5 Monde (@TV5MONDE).

« Depuis l’enfance, il est notre ami. Et les animaux de ses Fables, notre famille. Agneau, corbeau, loup, mouche, grenouille, lion... ne nous ont jamais quittés. Mais que savons-nous de Jean de La Fontaine, sans doute le plus grand poète de la langue française ?

» Loin d'être un sermonneur, La Fontaine est un fabuliste qui fait réfléchir sur les méandres de la nature humaine, qu'il ne cesse de questionner. Et si le pouvoir des fables, c’était justement de produire une liberté de pensée heureuse ? Redécouvrez le parcours et l'oeuvre de l'auteur des fables les plus célèbres de la littérature française, dans cet épisode d'“Une vie, une oeuvre” consacré à Jean de la Fontaine.

» Le 5 septembre 1661, Nicolas Fouquet, surintendant des Finances de Louis XIV, est arrêté. Il est accusé de prévarication et, au terme de trois années de procès, emprisonné à vie. La chute de Fouquet est un coup de tonnerre et le coup d’envoi d’une révolution monarchique, car Louis XIV affirme ainsi sa toute-puissance. Mazarin est mort au printemps, le roi entend désormais régner seul. Pour La Fontaine, cette arrestation est un choc. Le poète, déjà âgé de quarante ans, eût été poète royal si Fouquet avait continué sur sa lancée. Pourtant, il va lui rester fidèle.

» “Diversité, c’est ma devise”, écrit La Fontaine, qui fréquente en même temps les jésuites, Port-Royal et les libertins érudits.

» Nous verrons dans ce portrait comment la chute de Fouquet, conjuguée à la sensibilité littéraire et psychologique de La Fontaine, pousse ce poète esthétiquement vers la souplesse, la vélocité, les nuances, la légèreté, la gaîté : des valeurs qui le séparent du rationalisme et de la rigueur de l’absolutisme. La Fontaine joue à cache-cache avec le goût et la politique de son temps.

» Vous entendrez les analyses de Patrick Dandrey, professeur de littérature française du XVII° siècle à l’Université Paris-Sorbonne ; Marc Escola, professeur de littérature à l’université de Lausanne ; Dominique Noguez, ecrivain français (1942-2019) ; Boris Donné, maître de conférences à l’université d’Avignon ; Jean De Guardia, maître de conférences à Paris-Est-Créteil ; Frédéric Boyer, écrivain, traducteur et éditeur.

» Contes lus par Aurélia Petit.

» Avec les voix de Louis de Funès, Lambert Wilson et Christian Haas.

» Un documentaire de Virginie Bloch-Lainé. Réalisation Gilles Davidas. Prises de son : Patrice Klein, Laurent Lucas et Benjamin Chauvin. Mixage Benjamin Vignal. Documentation et recherche internet Annelise Signoret. Collaboration Juliette Dronne.

Jean de La Fontaine · Crédits : Getty.

» Pour aller plus loin

» Une biographie sur adlitteram.free.fr, site consacré au monde des livres, de la bibliophilie et de l'histoire de l'art.

» http://www.academie-francaise.fr/les-immortels/jean-de-la-fontaine

» La page de La Fontaine sur le site de l'Académie française. Jean de La Fontaine a été élu en 1684 à l’Académie française, au fauteuil n°24.

» Les douze livres des Fables, en ligne.

» Marlène Lebrun, Regards actuels sur les Fables de La Fontaine, Presses universitaires du Septentrion, 2000. En ligne.

» Jacques Serieys, “Jean de La Fontaine, poète engagé et libre, poète du peuple”, Midi insoumis, populaire et citoyen (site de la France insoumise - Midi-Pyrénées), 22/03/2020.

» Hafida Bencherif, “Figures du Monarque et imaginaire tyrannique chez La Fontaine”, mémoire de Master of arts, University of Western Ontario, 2016.

» Sophie Rollin, “Le jeu de la séduction dans les Contes de La Fontaine”, Littératures classiques, n°69, 2009.

» Les pièces de La Fontaine. En ligne.

» Louis Moland, Introduction aux œuvres de La Fontaine, 1875.

» Le site de Patrick Dandrey, président de la Société des Amis de Jean de La Fontaine. »

.../... Tout lire et écouter ce portrait radiophonique sur France Culture

graffica.info: «¿Cómo mejorar la usabilidad de un proyecto web con las tipografías?»

graffica.info (@graffica_info)

«Una de las mayores preocupaciones relacionadas con la creación de páginas web es la de mejorar constantemente su usabilidad. La tipografía es uno de los elementos que tiene un papel fundamental en esta tarea, sobre todo cuando se habla en términos de legibilidad. Por eso nunca viene mal repasar algunas pautas que ayudarán a mejorar la usabilidad del proyecto web. Tipografía para web: cómo mejorar la usabilidad de una web con las tipografías.

»La usabilidad de una página web se rige por el grado en el que se cumplen objetivos de efectividad y satisfacción del usuario en un contexto específico. Y, teniendo en cuenta que la tipografía se utiliza para crear la mayoría de los de elementos de la página como títulos, descripciones, links, barras de navegación, menús, botones, listas, tablas, etc., no es de extrañar que la legibilidad sea un factor primordial dentro de la usabilidad.

»Para evaluar los factores de legibilidad, aparte de tener en cuenta los aspectos objetivos y subjetivos de la experiencia tipográfica, se valora la combinación entre velocidad de lectura y comprensión. Así lo confirman algunos estudios como el que llevaron a cabo K.Larson y R. Picard (dos investigadores de Microsoft) llamado «The Aesthetics of Reading».

»De ahí que, tanto en términos de accesibilidad como de perspectiva general del usuario, la tipografía se considere un elemento importante.

«The samples on the left are spaced with an equal amount of horizontal distance between each letter. The samples on the right are adjusted by a typographer to have an apparent equal amount of space between each letter.» (Kevin Larson (Microsoft) & Rosalind Picard (MIT), «The Aesthetics of Reading».)

»Pero ¿cómo asegurarse de que conseguiremos una buena usabilidad de la web gracias a la tipografía? Para asegurarse de que se va en buena dirección existen diversas pautas a tener en cuenta. A continuación, te contamos algunas de las más elementales.

»Menos es más

»A la hora de escoger las tipografías que estarán presentes en el proyecto web, hay que tener en cuenta que es recomendable usar la mínima cantidad de fuentes posible. Es preferible invertir tiempo en analizar qué fuentes son adecuadas según las necesidades del proyecto y quedarse con un máximo de dos o tres. De otro modo, la web corre el peligro de verse un tanto desestructurada y connotar poca profesionalidad.

»¿Serifas o no serifas?

»Aunque en soportes impresos sea más habitual encontrarse con tipografías con serifas —debido a que los remates ayudan a guiar la mirada a través de toda la línea de texto—, para soportes digitales suele ser más recomendable usar tipografías que prescindan de ellos. En principio, su forma simplificada la hace más apropiada para pantallas permitiendo la legibilidad en tamaños pequeños. Aun así, debido a las mejoras en la resolución de las pantallas, la diferencia entre ambos tipos va diluyéndose cada vez más.

»En última instancia, la decisión de emplear tipografía con o sin remates dependerá del público al que va dirigido el proyecto web. Por ejemplo, no habría duda en usar tipografías sin serifa si hay un porcentaje de usuarios que emplean resoluciones pequeñas de pantalla o si se quiere evitar problemas a personas con dislexia o discapacidades visuales ya que los remates alteran el contorno de los caracteres.

»El tamaño sí importa

»Es fundamental asegurase de que el tamaño del texto que se utilice sea adecuado tanto en la versión de escritorio como en los diversos dispositivos móviles. No hay nada más perjudicial para la usabilidad de una página web que el usuario se encuentre con textos tan pequeños que le sean incómodos de leer —hasta el punto de obligarlo a hacer zoom— o tipografías tan grandes que haga que se ralentice la lectura.

»No abusar de la caja alta

»Aunque parezca una obviedad, abusar de las mayúsculas —sobre todo en bloques de texto— puede llegar a ser muy desalentador para el usuario que quiera leerlo. Un bloque compuesto solo por caracteres en caja alta —o incluso solo en caja baja— hace complicado el proceso de identificación y comprensión de las palabras, haciendo más tediosa la lectura.

»Cuidado con el traking

»Por regla general —y más si no se tienen los suficientes conocimientos tipográficos— lo aconsejable es no modificar el espacio que hay entre caracteres para que quepa más texto. El resultado de un traking negativo puede ser un bloque de texto denso y difícil de ser escaneado por el ojo del lector.

»Limitar el uso del color

»Al igual que la decisión de la fuente más adecuada para el proyecto web debería ser fruto del análisis de las necesidades de este, también debería serlo la decisión del uso del color en la tipografía (a no ser que lo que se busque sea diseñar una web centrada en el ugly design). Un galimatías de color puede ser bastante nocivo a la hora de presentar un bloque de texto si el objetivo es la legibilidad. De ahí a que se suela recomendar la utilización de 3 o 4 colores diferentes como máximo.

»Además, se aconseja evitar texto en azul —ya que los usuarios lo relacionan con textos enlazados—, o prescindir del uso del rojo o el verde debido a los problemas que puede ocasionarles a los usuarios con daltonismo. Tampoco es nada recomendable emplear colores similares para texto y fondo; cuanto más visible sea el texto, más rápido podrán los lectores escanearlo y leerlo».

.../... Lee todo en graffica.info

Jim Milliot (Publishers Weekly): «Fast-Growing Independent Publishers, 2020»

Publishers Weekly (@PublishersWkly)

Publishers Weekly.

«For the second year in a row, Mango Publishing (@MangoPublishing) topped PW’s fast-growing small publisher list. Mango’s sales growth rate between 2017 and 2019 was less than half its rate in the previous three-year span, but that is to be expected from a maturing company: Mango celebrated its fifth anniversary last year.

»Mango attributes its success in 2019 to its diverse list of authors. The publisher discovered artist Kate Allan and her animal drawings on Tumblr, and her You Can Do All Things sold well in the trade market as well as in the gift and special markets, Mango says. Women’s studies scholar Becca Anderson has been another important Mango author. Her bestselling The Book of Awesome Women led to a new series, which includes The Book of Awesome Women Writers and The Book of Awesome Black Americans.

»Your Next Level Life by Karen Arrington, founder of the Miss Black USA pageant and a goodwill ambassador to Sierra Leone, was another strong seller in 2019. “Karen Arrington is an exemplar of the kind of author Mango is proud to publish,” says Mango associate publisher Brenda Knight. “She is not only inspiring young women of color but working hard to make a difference in the world.”

»Last year also saw Mango continuing to expand its partnership with Franklin Covey, publishing the 7 Habits of Highly Effective People card deck. And Franklin Covey executive v-p Scott Jeffrey Miller’s Management Mess to Leadership Success hit bestseller lists in the management science category in 2019 as well.

»International sales were another strong spot for Mango, quadrupling over the past two years, the company says, and it now expects 30% of its English-language sales to be from outside of the U.S.

»Mango also benefitted last year from the October purchase of Conari Press, and it expects to see Conari make a more meaningful contribution in 2020 when it relaunches the imprint under the direction of Knight (who is Conari’s former associate publisher). Mango followed the Conari purchase by acquiring lifestyle and regional title publisher Yellow Pear Press in early 2020.

»Mango founder and publisher Chris McKenney notes that “while 2019 was full of many wonderful things,” what he is most proud of about the year was Mango’s ability to win six auctions when competing with representatives from the Big Five publishers. He attributes those victories to Mango’s revenue-sharing model, which offers authors up to 50% of net sales for each book sold, as well as its “modern marketing techniques.”

»Media Lab Books, a unit of Topix Media (@TopixMediaLab), began life as a bookazine publisher before launching a book division in 2015. MLB’s initial focus was on licensed publishing done in collaboration with companies like Disney, Jack Hanna, and Nickelodeon, explains MLB v-p and publisher Phil Sexton. After publishing 25 titles in 2017, the company changed tactics to concentrate on acquiring better titles that will have longer backlist lives, he says.

»That decision delivered almost immediate results. In 2018, sales rose 60% over 2017—and they increased another 42% in 2019, even as the number of titles steadily declined. MLB’s bestsellers last year included Smithsonian 10-Minute Science Experiments, Everything I Need to Know I Learned from John Wayne, and The Unofficial Ultimate Harry Potter Spellbook.

»Sexton, who joined MLB from F + W Media, says the company’s strategy now is to work with authors and licensors “who have the platform and desire to support their titles with us over time.” This approach, he says, has created a “far more efficient and profitable publishing model for everyone involved.”

»MLB’s publishing model varies depending on the kind of book it is doing and the kind of author or licensor it is working with, Sexton says. For some projects, the agreement is the traditional advance/royalty model. For others, where a brand or content is licensed but MLB is doing all of the creative in-house, it may be royalty only. And in other cases, books are original works being written by in-house staff. “We try not to limit the kind of deals we’re willing to come up with in order to create the book we want, so long as we’re doing so in a financially responsible way,” Sexton adds.

»Despite cutting the list in recent years, Sexton says that, moving forward, MLB is planning “a thoughtful, measured expansion of the list.” It will release 12 books this year, going up to 24 in 2022. “We intend to limit ourselves to 24 titles from 2022 onward to help ensure we’re focusing on the best projects we can,” Sexton notes. MLB’s titles are distributed by Macmillan.

»“We had another banner year,” says Familius (@familiustalk) founder and president Christopher Robbins. Among the metrics Robbins follows, sales per employee and sales per title had large gains between 2017 and 2019. The company’s growth drivers last year included its Lit for Little Hands series, interactive board books, and regional titles, says marketing and public relations director Kate Farrell. A top-selling individual title was Good Moms Have Scary Thoughts by Karen Kleiman, founder of the Postpartum Stress Center, illustrated by Molly McIntyre.

»The Road Not Taken, based on the poem by Robert Frost and illustrated by Vivan Mineker, got a boost last year when it received a mention in the New York Times Book Review—the first time a Familius title made it into the NYTBR. Another solid seller was a padded board book version of Familius’s PW-bestselling picture book Made for Me. Big Book of Family Games —which “provides tech-free fun and games to families,” Farrell says— was also a hit in 2019. And The Munchy Munchy Cookbook for Kids by Pierre Lamielle, winner of the reality cooking show Chopped Canada, was a good performer last year, too.

»Familius is now distributed by Workman, after previously doing its own distribution. Robbins hopes the move will expand its visibility to the trade.

»Blue Star Press (@bluestarpress) had immediate success when it launched in 2015, taking advantage of the surge in interest in adult coloring books. Originally known as Blue Star Coloring, the publisher’s two top-selling books in the adult coloring category hit the New York Times bestseller list, combining to sell more than 500,000 copies. That success “motivated us to charge ahead and expand into other genres,” says Blue Star chief operating officer Peter Licalzi, who started the company with Camden Hendricks.

»Blue Star’s first move was to expand in the creative art and wellness categories in 2016, followed by games and other gift products in 2019, Licalzi says. The company’s Paige Tate & Co. imprint publishes how-tos, lifestyle titles, devotionals, and coloring books.

»Among Blue Star’s bestsellers last year were Hand Lettering 101, Millennial Lotería, and Mind Your Business. Early on, Licalzi says, the company worked to build relationships with independent booksellers and other bricks-and-mortar retailers such as Hobby Lobby, Joann Fabric, and Magnolia. Blue Star’s quick success drew the attention of Penguin Random House, which added it as a distribution client in September 2019.

»Based in Bend, Ore., Blue Star’s core staff of five employees are all 35 years old and under and work from Los Angeles and Austin. Licalzi attributes a large part of the company’s early success to its relationship with its authors, whom it considers creative business partners and friends. “We are very selective about who we collaborate with,” he says, “and have worked hard to carefully nurture these relationships and get our authors excited about releasing a series of new titles with us year after year.”

»Founded in 1964 by aerial photographer Robert Cameron, Cameron + Company (@cameronbooks) was acquired in 2009 by his granddaughter Nina Gruener and her husband Chris Gruener following Robert’s death. The couple moved the boutique publisher of photography, art, food and wine, children’s, and regional interest books from San Francisco to Petaluma, Calif. The company has seen its strongest sales period over the past few years, growing 25% between 2017 and 2019, led by a particularly good 2019. Chris, who is the publisher, attributes its recent success to a number of factors.

»Cameron’s most important initiatives include the 2016 launch of the Cameron Kids imprint, which was formed to complement its line of children’s picture books and is headed by Nina, who is also a children’s author. Cameron Kids publishes picture and chapter books, and though it began by releasing two books per season, it will release 12 in 2020, Chris says.

»A second growth area has been Cameron Studios, which offers custom book, packaging, and design services for movie studios, video game studios, artists, photographers, and other publishers. Cameron has also seen solid gains in its Roundtree Press imprint for general nonfiction. Roundtree is distributed by PGW, and in 2018 Cameron signed with Abrams for sales and distribution of its Cameron list.

»A final contributor to its strong sales last year was the fall release of what Chris says were two of the biggest books in the publisher’s history: Rick Baker: Metamorphosis, a $250, slipcased, two-volume set on the Hollywood legend, and the children’s picture book The President Sang Amazing Grace, which Chris describes as “a lyrical account of the day President Obama sang with a grieving nation following the 2015 shooting in a black church in Charleston, S.C.”

»Brown Books Publishing Group (@BrownBooks) president and chief operating officer Tom Reale says the company was able to overcome sluggish sales to Barnes & Noble to post its fifth consecutive year of gains and make PW’s fast-growing list for the third consecutive year. He adds that offsetting slower sales to B&N were a strong backlist performance, a refocus on online and independent store sales, the addition of direct sales, and an increase in export sales.

»One of Brown Books’ big titles of 2019 was Ed Curtis’s Why Texas: How Business Discovered the Lone Star State, which features interviews with business leaders describing why they moved their operations to Texas. “As a Dallas-based publisher, Brown Books’ leadership felt a strong affinity towards publishing this title,” Reale says.

»Another Texas-themed book also performed well last year: Hold Texas, Hold the Nation: Victory or Death, by former congressman and retired Army officer Allen B. West, saw a bump in sales following West’s announcement that he would enter the race for the chair of the Texas Republican Party. His follow-up, We Can Overcome: An American Black Conservative Manifesto, had strong early sales following its publication in February 2020, Reale says. Brown Books has been adding more titles from military veterans, he explains, noting that Baghdaddy: How Saddam Hussein Taught Me to Be a Better Father sold well last year.

»Brown Books’ children’s list had a solid 2019, as well. Sweet Child Born in California, the newest volume in Whitney Strauss’s Sweet Child series, sold well, Reale says, adding that Sweet Child Born in New York will come out this year. Brown Books also continued to focus on the K–12 classroom library market—and books that discuss special needs and inclusion in particular, led by Jo Mach’s Finding My Way series.

»Brown Books has capitalized on the boom in audiobook sales following its entrance into the market in 2018. According to Reale, the company expanded its in-house production and its relationship with Recorded Books, whose Tantor division produced the first two audiobooks in Devri Walls’s Venators series last year.

»North Atlantic Books is another publisher that benefitted from growth in the audiobook market. According to Tim McKee, publisher of the nonprofit, North Atlantic’s investment in its audiobook infrastructure contributed to a doubling of sales of the format in 2019 over 2018.

»Last year was another year during which North Atlantic benefited from growing interest in its core areas of trauma, plant medicine, grief, racial justice, the liminal, self-healing, and indigenous cosmologies. The increased interest, McKee notes, led to strong backlist sales. Top backlist sellers in 2019 included the ever-popular Walter the Farting Dog which sold more than 38,000 units across all formats, followed by Accessing the Healing Power of the Vagus Nerve, Waking the Tiger, In the Realm of Hungry Ghosts, and The Wild Edge of Sorrow. Backlist accounts for about 75% of North Atlantic annual sales. The publisher’s two bestselling new releases in 2019 were Teaching Yoga Beyond the Poses and Evolutionary Herbalism.

»Another long-term aspect of North Atlantic’s publishing program—putting a priority on the diversity of its authors, particularly with regard to race, age, sexual orientation, and gender—also contributed to a better financial performance, McKee says, as did the increased impact of diverse voices within North Atlantic’s organization.

»Working with its distributor, Penguin Random House, North Atlantic had a strong performance in special markets last year, McKee notes. PRH also helped North Atlantic reduce the number of returns to the point where the return rate is now about half of what it was several years ago, he adds.

»Charlesbridge Publishing (@charlesbridge) executive v-p and publisher Mary Ann Sabia says the company’s sales gain last year was spread across a number of channels, including “very strong growth” in the school and library market. Other solid increases came in sales of subscription boxes and e-books, while Charlesbridge also had a “nice bump” in sales in the U.K.

»The breadth of Charlesbridge’s sales is reflected in its bestselling frontlist titles from last year. SumoKitty was a Kids Indie Next List pick, and Woodstock: 50 Years of Peace and Music was released by its Imagine adult imprint. Other bestsellers were a new paperback edition of Whoosh! and Lola Goes to School, the latest release in its Lola Readers series, written by Anna McQuinn and illustrated by Rosalind Beardshaw.

»Key backlist titles last year, Sabia, says, were Baby Loves Science Board Box Set, Boo-Boos That Changed the World, Feathers: Not Just for Flying, Last Day Blues, Rickshaw Girl, and We Are Grateful: Otsaliheliga (a Sibert Honor book).

»Charlesbridge was founded in 1989 and has regularly appeared on the PW fast-growing small publishers list in recent years. “2019 marked our 30th anniversary, and it’s been so rewarding to see our continued growth,” Sabia says. “It was the enthusiasm of independent booksellers back in 1989 that gave us our start, and over the years that support spread across many and varied marketplaces.”

»Morgan James (@MorganJamesPub) founder and president David Hancock says contributions from a number of areas helped to drive sales gains in 2019. Bestsellers came from the publisher’s business, faith, and fiction imprints, and Hancock called out Becoming Us by Jeff and Beth McCord as exceeding his expectations. One of the company’s business books, The Bezos Letter, was a steady seller in the U.S. last year and garnered more than $200,000 in foreign rights sales. In general, Hancock says, Morgan James had a strong performance from its growing backlist, particularly in nonfiction.

»Morgan James supported its entire list last year with expanded marketing efforts to both consumers and the trade. “For example,” Hancock says, “we placed significantly more ads in PW and in Foreword magazine during 2019 and had very positive reactions.”

»Digital initiatives also added to the publisher’s growth. Sales in the audio division rose 31% over 2018, due in part to additional distribution channels opened up for Morgan James by its distributor, Ingram Publisher Services, Hancock says. A new strategy of promoting e-books before pub date grew sales of that format last year, and Morgan James’s partnership with Open Road Media led to a 900% jump in backlist e-book sales.

»Hancock is planning more digital initiatives for 2020, including rolling out its free e-book bundle to all print titles, driven by FlexPub. In addition, Morgan James has partnered with Bookshop to drive more online sales through independent booksellers.

»Strong backlist sales drove growth at Greystone Books (@greystonebooks), which returns to PW’s fast-growing list after initially appearing in 2017. In that year, the company was riding high following the release in 2016 of two hits, The Hidden Life of Trees by Peter Wohlleben and The Obesity Code by Jason Fung. Those two titles remain extremely popular, says associate publisher Jen Gauthier. To date, Trees has sold 600,000 hardcover copies, while Obesity Code has sold more than 425,000 print copies and 200,000 e-book copies.

»Both authors remain important contributors to Greystone. The company published Wohlleben’s The Inner Life of Animals in 2017 and The Secret Network of Nature last year, along with an illustrated edition of The Hidden Life of Trees; in 2018, Greystone released Fung’s The Diabetes Code, followed by The Obesity Code Cookbook in 2019. “We have more books coming from both authors,” Gauthier says.

»Last year’s sales received a lift from the fall launch of a children’s imprint focused on books in Greystone’s core areas of nature, science, environment, health, and social issues. Greystone Kids started with five books, including a middle grade nonfiction adaptation of The Hidden Life of Trees, titled Can You Hear the Trees Talking?, and Birdsong, a picture book by Cree-Metis author Julie Flett, which received multiple starred reviews and was an ALA American Indian Youth Literature honoree. “We will continue to build the children’s list, publishing a mix of picture books and middle grade nonfiction and growing the list to 12–16 titles per year,” Gauthier promises.»

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