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Este trabajo pretende estudiar las poéticas explícitas del poeta Antonio Gamoneda desde el punto de vista del contenido, basándose en las últimas propuestas teóricas al respecto, con el fin de llegar a conclusiones relevantes para el ámbito de los estudios literarios. El autor, pese a su reticencia a participar en el mundo intelectual, posee una relativamente abundante producción ensayística en forma de textos breves, entrevistas y charlas. A través del análisis exhaustivo de estos materiales se han identificado cinco núcleos temáticos fundamentales que serán desarrollados en el presente artículo: el origen del pensamiento poético, el acto de creación, la relación poesía-muerte, la poesía como no-ficción y la relación de la poesía con la política. A través de esta investigación, se propone al lector una manera distinta y productiva de acercarse al pensamiento y a la obra del poeta leonés. Asimismo, el trabajo plantea una reivindicación de su poética en el contexto literario-sociológico actual. This paper aims to study poet Antonio Gamoneda’s explicit poetics from the point of view of content, based on the latest theoretical proposals in this regard, in order to reach conclusions relevant to the field of literary studies. The author, despite his reluctance to participate in the intellectual world, has a relatively abundant essay production in the form of short texts, interviews, and talks. Through the exhaustive analysis of these materials, five fundamental thematic nuclei have been identified and will be explained in this article: the origin of poetic thinking, the act of creation, the poetry-death duality, poetry as a non-fiction genre and the connection between poetry and politics. Through this research, the reader is offered a different and productive way of approaching Antonio Gamoneda’s thinking. Likewise, the work proposes a vindication of his poetics in the current literary-sociological context.

This paper proposes a novel source for –or at least influence on– the iconography of the Moon trump in the Rider-Waite Tarot deck, which preserves the design from the Tarot de Marseille. In fact, the Moon template appears to date back to the earliest days of the Tarot. The proposed source or prototype is a Greco-Roman talismanic design against the Evil Eye known as the “all-suffering eye”, which frequently occupies the reverse face of Byzantine copper/ bronze “Holy Rider” amulets. The paper identifies compositional elements that correspond in the Evil Eye and Moon card designs, presents reasons why the moon and the Evil Eye might have been thought of as cognates, and considers other likely inputs into the Moon card’s visual program.

This article proposes some potential contributions of contemporary art to industrial and technological heritage discussions. The paper analyses the relations among art, industrial ruins, technological trash, heritage, and society from an archaeological perspective, although this standpoint is compared to and complemented with those of art and art history. First, the text presents how industrial sites and technological artefacts from the recent past are transformed for/by the artists. In doing so, it offers a preliminary basic typology of art-obsolescence relations illustrated with cases from Europe, Asia and the Americas. Four major kinds of interactions are introduced: the conversion of abandoned industrial buildings into art galleries and museums; the transformation of larger obsolete industrial/technological areas into creative hubs; the intervention of artists in industrial ruins; and the creative recycling of technological waste. Second, the text infers from the examples provided in the typology three possible functions of art regarding heritage: revelation/addition of value; mediation between the public and dark heritages; and recognition in technological and industrial history. In the end, the paper defends the role of art in the making of industrial and technological heritages, as well as in reconnecting them to society.

In 2020, the COVID-19 pandemic exacerbated the precariousness and working conditions of artists and cultural workers globally, including Portugal. Through the research project Práticas Artísticas Confinadas: Resistência e Coletivismo na Pandemia Covid-19 em Portugal (Artistic Practices in Lockdown: Resistance and Collectivism during the Covid-19 Pandemic in Portugal), undertaken between December 2021 and June 2022, it was possible to conclude that amid this crisis, Portuguese cultural workers mobilised collectively to advocate for labour rights, expose irregularities within cultural institutions and secure access to cultural and artistic production. Drawing on these findings, this article focuses on how the restrictions on the use of physical public spaces, which are privileged arenas for protest and participatory democracy as defined by the Portuguese Constitution, compelled these workers to devise alternative approaches to sustain their activism. Thus, the paper examines the strategies employed by cultural workers to circumvent the restrictions by adapting and subverting these spatial limitations. The article concludes with an analysis of how the use of art practices and the performativity of these strategies were crucial in ensuring the continuation of social mobilisation and democratic exercise.

Resumen Este paper visual es una materialización virtual de un conjunto de sesiones de trabajo específicas del Grupo de investigación del IEP —Instituto de Estudios del Porno—. Parte de una voluntad por poner en práctica metodologías de producción de pensamiento que se desmarcan de las inercias logocéntricas, incorporando así un desplazamiento de las dinámicas de autoría clásica hacia formas de pensar y crear colectivamente. Esta propuesta apuesta por conjunciones de saberes distintos, de encuentros entre la investigación histórica, el trabajo con imágenes, el pensamiento crítico y la revisión de debates contemporáneos alrededor de los feminismos y las políticas del cuerpo. Jugamos con el lenguaje del boceto, del meme y del cómic. Interpeladxs por los actuales ataques hacia la realidad de las trabajadoras del sexo en el terreno legislativo, el texto-imagen ofrece este asunto desde otra perspectiva. A través de la personificación de un elemento prostibulario, significante e histórico, como la Carassa, damos cuenta de aquellas capas, perspectivas y realidades necesariamente olvidadas para la construcción de un discurso estatal regulatorio que continúa con políticas prohibicionistas y censuradoras de/contra la sexualidad y sus economías. Abstract This visual paper is a virtual materialization of a set of specific working sessions of the research group of the IEP -Institute of Porn Studies-. It is based on a desire to put into practice methodologies for the production of thought that break away from logocentric inertias, thus incorporating a shift from the dynamics of classical authorship towards ways of thinking and creating collectively. This proposal bets on conjunctions of different knowledge, of encounters between historical research, work with images, critical thinking and the review of contemporary debates around feminisms and body politics. We play with the language of sketches, memes and comics. Challenged by the current attacks on the reality of sex workers in the legislative field, the text-image offers this issue from another perspective. Through the personification of a prostibulary, significant and historical element, such as the Carassa, we account for those layers, perspectives and realities necessarily forgotten for the construction of a regulatory state discourse that continues with prohibitionist and censoring policies of/against sexuality and its economies.