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Intermedial Ecocriticism: The Climate Crisis Through Art and Media provides an extensive understanding of the climate crisis as it is represented in a number of medial forms, including scientific reports, popular science, graphic novels, documentaries, websites, feature films, and advertising. Theoretically, this is the first book that combines two important theories from the humanities: ecocriticism and intermedial studies. The book carefully develops Intermedial Ecocriticism as a method of investigating how climate crisis is represented and communicated through diverse media types. The chapters each include a comparative analysis of two or three specific media products and how they mediate the climate crisis., The publication of this book in an open access format is made possible by the Linnaeus University Center for Intermedial and Multimodal Studies (IMS) and the University Library of Linnaeus University.Open Access content has been made available under a Creative Commons Attribution- Non Commercial- No Derivatives (CC-BY-NC-ND) license.

Intermedial Ecocriticism: The Climate Crisis Through Art and Media provides an extensive understanding of the climate crisis as it is represented in a number of medial forms, including scientific reports, popular science, graphic novels, documentaries, websites, feature films, and advertising. Theoretically, this is the first book that combines two important theories from the humanities: ecocriticism and intermedial studies. The book carefully develops Intermedial Ecocriticism as a method of investigating how climate crisis is represented and communicated through diverse media types. The chapters each include a comparative analysis of two or three specific media products and how they mediate the climate crisis., The publication of this book in an open access format is made possible by the Linnaeus University Center for Intermedial and Multimodal Studies (IMS) and the University Library of Linnaeus University.Open Access content has been made available under a Creative Commons Attribution- Non Commercial- No Derivatives (CC-BY-NC-ND) license.

Art therapy relates to the concepts of the unconscious in many respects - most art therapists presume that particularly the patient's artwork visualises something of his or her unconscious inner life. Current controversies in psychoanalysis about consciousness and unconscious in the therapeutic relationship can be most valuable for art therapists and reach beyond the scope of the artwork representing the invisible. The new concept of the unconscious distinguishes between the vertical and the horizontal dimension, denoting the mechanism of repression in the psychic processes on the one hand, and the horizontal social resonance space on the other. Successful therapy crucially depends on the horizontal dimension of the unconscious, indicating that therapeutic competencies are closely related to non-conceptuality. Consequently the focus in art therapy is not only on the artwork and its potential unconscious aspects, but it concentrates on the effects of the unconscious in the on-going processes between therapist, patient and artwork. For the art therapist this means to relate in a very special way to the patient as well as to the emerging art and to frame his intervention accordingly. The essay researches the concept of the unconscious from different perspectives and it explores and locates the structures of the complex lines of relationships between therapist, patient and artwork.

This master’s thesis investigates poetic text writing through a teaching project conducted on a secondary school class in Sweden. Inspired by ekphrastic poetry, the teaching project consisted of poetry and literature reading. The students visited a sculpture related to the literature, upon which they wrote poetic texts about the sculpture. The main purpose of the study is to describe how teaching in the Swedish subject can make use of Swedish language teaching by developing students’ poetic texts that touches on topics such as living conditions and identity. Drawing from thematic narrative analysis, most notably Bamberg’s positioning model, the analysis investigates the narratives constructed in the students’ poetic texts as well as identity aspects negotiated through the narratives. The students’ identities were further discovered through participant observation and semi-structured interviews to deepen the understanding of the meeting between art, identity and learning.The general perception drawn from the interviewees’ answers is that the Swedish subject rarely includes knowledge of nor writing of poetic texts. However, the study emphasises that poetry could have an integral part of the education in the Swedish subject in secondary education.The results show that the students’ poetic texts tend to relate to the sculpture and the physical environment, as well as the social context of the environment. Furthermore, the identities of the students were shown to have a high relevance in the writing process. The teaching project was based on principles of culturally sustaining pedagogy and aimed at contributing to the sociocultural support of the school. As the students’ language and cultural backgrounds proved to be significant in the writing process, it became evident that multilingualism was a natural part of the student’s everyday school life.

This essay's main topic is how the digitalization of art affects the experience. This was done by comparing a digitalized and a physical viewing of the art exhibit Katja of Sweden at Kristinehamns Konstmuseum. The two versions were analysed through Spielberg’s seven phenomenological steps: experience, ideation, generalizing, nuancing, constitution, reduction, and interpretation. They were then compared through a comparative method highlighting the similarities and differences between the two versions of the art exhibit. The concept of a museum as a place and space was then analysed through Christian Norberg-Schultz's argument phenomenon of place, and Walter Benjamins's argument of the aura of the artwork. The conclusion that came from the analysis was that digitalization affected how the visitor interacted with the art exhibit's place and space. Even so, the digitalisation of the exhibit Katja of Sweden was deemed a necessary precaution to ensure that the visitors could take part in the exhibit even if the museum were closed, due to the restrictions that came with the Covid-19 pandemic.

The article presents a reflection from a research project that seeks to reconstruct the history of the Universidad del Rosario in relation to enslavement and other forms of racial oppression. Initially, the project had as an objective to critically examine the history of the racial oppression through the exploration of the available archives in an attempt to shed light on the lives of the enslaved people who were associated with the University and to emphasize their humanity and struggle for freedom. Neverthe-less, with time, the objectives were broadened to include initiatives in public history which promoted a dialogue between social sciences and art from an anti-patriar-chal, anti-racist and decolonial focus. Besides the research project, four memorial initiatives associated with this are presented. These initiatives include a physical and virtual tour, an exhibition of imagined portraits created with the aid of artificial intelligence (AI), a play and an exhibition project with afro-descendant artists. These initiatives seek to raise awareness of the University’s colonial past and push the boundaries of the archive by incorporating art and public history., O artigo apresenta uma reflexão a partir de um projeto de pesquisa que visa reconstruir a história da Universidade del Rosario em relação à escravização e outras formas de opressão racial. Inicialmente, o projeto teve como objetivo examinar criticamente a his-tória da opressão racial através da exploração dos arquivos disponíveis na tentativa de lançar luz sobre a vida das pessoas escravizadas que estavam associadas à Universida-de e enfatizar a sua humanidade e luta pela liberdade. Contudo, ao longo do tempo os objetivos foram ampliados para incluir iniciativas de história pública que promovessem um diálogo entre as ciências sociais e a arte, a partir de um enfoque antipatriarcal, an-tirracista e decolonial. Além do projeto de pesquisa, apresentam-se quatro iniciativas memoriais associadas. Estas iniciativas incluem um tour físico e virtual, uma exposição de retratos imaginados criados com a ajuda da inteligência artificial (IA), uma peça teatral e um projeto expositivo com artistas quilombolas. Tais iniciativas visam criar consciência sobre o passado colonial da Universidade e empurrar os limites do arquivo mediante a incorporação da arte e a história pública., El artículo presenta una reflexión a partir de un proyecto de investigación que busca reconstruir la historia de la Universidad del Rosario en relación con la esclavización y otras formas de opresión racial. Inicialmente, el proyecto tenía como objetivo examinar críticamente la historia de la opresión racial a través de una exploración de los archivos disponibles en un intento por arrojar luz sobre las vidas de las personas esclavizadas que estaban asociadas con la Universidad y enfatizar su humanidad y lucha por la libertad. Sin embargo, con el tiempo se ampliaron los objetivos para incluir iniciativas de historia pública que promovieran un diálogo entre las ciencias sociales y el arte, desde un enfoque antipatriarcal, antirracista y decolonial. Además del proyecto de investigación, se presentan cuatro iniciativas memoriales asociadas con este. Estas iniciativas incluyen un recorrido físico y virtual, una exposición de retratos imaginados creados con la ayuda de la inteligencia artificial (IA), una obra de teatro y un proyecto de exposición con artistas afrodescendientes. Tales iniciativas buscan crear consciencia sobre el pasado colonial de la Universidad y empujar los límites del archivo mediante la incorporación del arte y la historia pública.

The B.Sc. in Medical Microbiology (BMM) course is to train students in the field of Medical Microbiology. Theoretical as well as practical training is imparted to the candidates in the subspecialties viz. Bacteriology, Virology, Parasitology, Immunology and Mycology so that they can participate in good patient care and prevention of infectious diseases in the community. They are introduced to basic research methodology so that they can conduct fundamental and applied research. They are also imparted training in teaching methods in the subject which may enable them to take up teaching assignments in Medical Colleges/Institutes.OBJECTIVES OF THE COURSEAs a nation we have gone ahead in many respects. But there are still areas, which demand attention, care and concern. The area identified by our think-tanks is “global standards in Paramedical education and training. This course will provide trained, qualified, technical personnel in the field of Paramedical Science to support the medical profession. At the end of the course the students should be able to: Establish good clinical microbiological services in a hospital and in the community in the fields of bacteriology, virology, parasitology, immunology and mycology. They will be able to plan, execute and evaluate teaching assignments and research work in medical microbiology.

Review of Peggy Karpouzou and Nikoleta Zampaki (Eds.) (2023) Symbiotic Posthumanist Ecologies in Western Literature, Philosophy and Art. Towards Theory and Practice. Peter Lang. [ISBN: 9783631882917] 326 pages.

Review of Peggy Karpouzou and Nikoleta Zampaki (Eds.) (2023) Symbiotic Posthumanist Ecologies in Western Literature, Philosophy and Art. Towards Theory and Practice. Peter Lang. [ISBN: 9783631882917] 326 pages.

Consumers are the biggest contributors to food waste in the United States and in other developed countries, though most of them don’t realize it. American young adults living independently for the first time lack education on responsible food management in the areas of planning, preparation, and preservation. This lack of skills results in excessive waste of food, money, and energy, and leads to significant damage to the economy and the environment. Ample research exists identifying this issue and the changes that need to be made, yet effective visual solutions have not yet followed. Through a comprehensive topical survey, along with case studies and visual analyses, this thesis will synthesize the existing research and knowledge into effective visual solutions. These solutions focus on improving skills in the identified areas of food management as well as combatting apathy amongst the target audience. Simplicity, accessibility, and efficiency are primary objectives of these solutions, which span both print and digital mediums.

This research seeks to investigate the societal stigmas and misconceptions of ideal motherhood, aka “intensive mothering,” the repercussions associated, and the support systems both in place or missing. In addition, it seeks to contribute to fostering a healthier societal perception of motherhood. Methods include a literature review of existing research, case studies and analyses of other artists’ contemporary work in the field, and a visual solution in the form of an art exhibition. This research found that intensive mothering is a pervasive idea, ingrained in current society and detrimental to mothers’ mental health and well-being. Through the research and visual solution, it is shown that mothers are not alone in the struggles they go through, even across disparate mothering vocations such as working mothers, stay-at-home mothers, and student mothers, and that bringing together these various groups is essential to foster a healthier societal perception of motherhood and support systems for women.

As technology advances, its integration with the graphic design field becomes increasingly prevalent. This can be seen especially in artificial intelligence programs and generative AI. With the rapid emergence of this technology, young graphic designers are left threatened by AI in relation to their graphic design careers. This occurs for several reasons such as lack of knowledge of AI and lack of training in usingvit. This paper aims to highlight the importance for these young designers to understand artificial intelligence through the examination of its practical application to the design field. In addition to this, the history of artificial intelligence will be discussed in detail through its current role in both society and the lives of graphic designers which highlights how it has already been affecting the lives of designers. The challenges of learning this technology can be daunting but through its application and continual effort from a designer to learn this technology, the tensions felt by the designer can be alleviated in order to showcase how artificial intelligence can benefit them in their careers. Case Studies showcasing the use of AI by designers are examined in this paper also demonstrate how using the AI has affected the attitudes of the designers toward a technology that is intimidating and new in a positive way.

Over the years the search for prisoners of war and missing in action has faded from the spotlight in media and social focus, yet there is still a need to help families find their loved ones that are unaccounted for. This research is aimed to investigate the knowledge of prisoners of war (POW) and those missing in action (MIA) and what current organizations are doing to support the search for the missing. Specifically, it investigates methods that would aid in the spread of bringing awareness to this topic to the public. The following research questions were asked: 1. Who are POW and MIA? 2. Why is it important to continue searching for them? 3. What are current organizations doing to support the cause? 4. What risks do military personnel face in becoming POW or MIA? Research revealed the topic is not as widely in the public eye anymore and it is not something that has been extensively addressed in the media, therefore the solution is to creatively bring awareness to the public about the service members that are still missing. By examining these research questions through a literature review, case studies, and visual analyses, a solution was created to raise awareness to continue the search for prisoners of war and those missing in action.

Although COVID-19 has commonly been narrated as an impediment to the arts, I argue that it also offered exciting new opportunities to engage audiences with exhibitions focus on public health crises. In this article, I reflect on my experience of curating Picturing the Invisible with students at Technical University Munich (TU Munich) during the COVID-19 pandemic. Organized in memory of the 2011 Great East Japan Earthquake, tsunami and nuclear disaster, the exhibition was shown at the Royal Geographical Society, London (October till December 2021) during the so-called “second wave” and at TU Munich (June 2022) amid the rise of the Omicron Variant. Departing from the common tendency to narrate events as having been successfully organized despite the pandemic, this paper presents the virus as co-creating – perhaps even co-curating – the exhibition. To do so, I provide a brief overview of Picturing the Invisible, before going on to analyze the role that the virus played in calling me to organize this project (as both a researcher and as a lecturer), how it has made it logistically possible, and how it presented new opportunities to engage foreign audiences with the experience of Japan’s triple disaster.

This research paper focuses on the cultural context of algorithmic consumer culture and the role of artists as cultural intermediaries in this realm. It investigates artworks that address Artificial Intelligence as a techno-social phenomenon to draw valuable cultural insights on the implications of AI in the broader macro marketing landscape.

Introduction: The large number of deaths among children with HIV is driven by poor antiretroviral treatment (ART) coverage among this cohort. The aim of the study was to assess the availability and stock-outs of paediatric and adult ART formulations in Kenya and Uganda across various regions and types of health facilities. Methods: A survey on availability and stock-outs of paediatric ART at health facilities was adapted from the standardized Health Action International–WHO Medicine Availability Monitoring Tool. All preferred and limited-use formulations, and three phased-out formulations according to the 2021 WHO optimal formulary list were included in the survey, as well as a selection of adult ART formulations suitable for older children, adolescents, and adults. Availability data were collected in June–July 2022 and stock-out data were obtained over the previous year from randomly selected public and private-not-for-profit (PNFP) facilities registered to dispense paediatric ART across six districts per country. All data were analysed descriptively. Results: In total, 144 health facilities were included (72 per country); 110 were public and 34 PNFP facilities. Overall availabilities of preferred paediatric ART formulations were 52.2% and 63.5% in Kenya and Uganda, respectively, with dolutegravir (DTG) 10 mg dispersible tablets being available in 70.2% and 77.4% of facilities, respectively, and abacavir/lamivudine dispersible tablets in 89.8% and 98.2% of facilities. Of note, availability of both formulations was low (37.5% and 62.5%, respectively) in Kenyan PNFP facilities. Overall availabilities of paediatric limited-use products were 1.1% in Kenya and 1.9% in Uganda. At least one stock-out of a preferred paediatric ART formulation was reported in 40.0% of Kenyan and 74.7% of Ugandan facilities. Nevirapine solution stock-outs were reported in 43.1% of Ugandan facilities, while alternative formulations for postnatal HIV prophylaxis were not available. Conclusi

The volume aims at a conceptualisation of the relations between postcolonial theory and crisis, while also looking at the crisis of postcolonialism and the ways in which it can respond to contemporary issues. It seeks to understand, situate, and analyse postcolonial theory in the face of neo-liberalism, neo-imperialism, and neo-colonialism – the relation between ‘post’ and the increasing use of ‘neo’ is in itself part and parcel of the question. The volume is organised in four sections, each containing four chapters. Even though all the chapters present a reflection on Postcolonial Theory and Crisis, some focus more specifically on aspects of the crisis in a global perspective such as humanitarian crisis and the role of mediatisation of conflicts, to issues related to human rights, refugees, migrancy, environmental crisis to questions of memory and postmemory as well as the critique of art and utopian thought. The questions posed are addressed at both a conceptual and theoretical level, alongside the analysis of specific case studies.

In the millennial transition the prefix ‘post’ had come to signify more and more not just the realisation of a ‘coming after’ but also of the impossibility of not seeing the present as still very much working through the wounds of the past. Yet with the appearance of pseudo-concepts such as ‘post-truth’ after an equally imaginary ‘death of History’, the logic of the ‘post’, itself always already under questioning, may appear to have outlived its usefulness. How to make sense of postcolonial theory in Europe in the present? One way might be to renew its significance as world conflicts have entered a new ‘post-imperial phase’ with the return of ideologies of empire in various parts of the world. The essays in this volume address those questions at both a conceptual, theoretical level, and through the analysis of specific case studies. In the Introduction Paulo de Medeiros and Sandra Ponzanesi review the main questions outlined above in relation to the current debates in the Humanities from their respective disciplinary perspectives. The volume is organised in four sections, each containing four chapters. Even though all the chapters present a reflection on Postcolonial Theory and Crisis, some focus more specifically on aspects of the crisis in a global perspective such as humanitarian crisis and the role of mediatization of conflicts, to issues related to human rights, refugees, migrancy, environmental crisis to questions of memory and postmemory as well as the critique of art and utopian thought

There is an urgent need to engage with deep leverage points in sustainability transformations—fundamental myths, paradigms, and systems of meaning making—to open new collective horizons for action. Art and creative practice are uniquely suited to help facilitate change in these deeper transformational leverage points. However, understandings of how creative practices contribute to sustainability transformations are lacking in practice and fragmented across theory and research. This lack of understanding shapes how creative practices are evaluated and therefore funded and supported, limiting their potential for transformative impact. This paper presents the 9 Dimensions tool, created to support reflective and evaluative dialogues about links between creative practice and sustainability transformations. It was developed in a transdisciplinary process between the potential users of this tool: researchers, creative practitioners, policy makers, and funders. It also brings disciplinary perspectives on societal change from evaluation theory, sociology, anthropology, psychology, and more in connection with each other and with sustainability transformations, opening new possibilities for research. The framework consists of three categories of change, and nine dimensions: changing meanings (embodying, learning, and imagining); changing connections (caring, organizing, and inspiring); and changing power (co-creating, empowering, and subverting). We describe how the 9 Dimensions tool was developed, and describe each dimension and the structure of the tool. We report on an application of the 9 Dimensions tool to 20 creative practice projects across the European project Creative Practices for Transformational Futures (CreaTures). We discuss user reflections on the potential and challenges of the tool, and discuss insights gained from the analysis of the 20 projects. Finally, we discuss how the 9 Dimensions can effectively act as a transdisciplinary research agenda bringing creat

This chapter discusses the artistic project Future Wake (2021) by Ahnjili Zhuparris and Tim van Ommeren that examines predictive policing. By shifting the focus from possible future crime offenders to possible future victims of fatal police encounters, using visual and affective means rather than expert knowledge and statistics, the artwork activates critical reflection on the politics and logics of predictive policing systems. The chapter first situates predictive policing in a context of securitization, and discusses how it enhances structures of discrimination. In the second part, Wevers interviews artist Zhuparris about the aims of Future Wake, discussing the artistic and technical process of creating the project, the politics of data, and the role of art in critical discussion on surveillance and AI.

This Masters of Arts Research comprises a creative component, a novella, titled, A Realist at War, which explores the effects of the Second World War on a group of Australian artists and an accompanying exegesis that examines the interrelationship between art and authenticity when researching and writing historical fiction. The act of inserting a fictitious narrative into historical events presented an opportunity to further research the field of historical fiction. Based on the research undertaken for writing A Realist at War, this exegesis will consider the existing literature on methodology for writing historical fiction, particularly analysing contemporary authors that revisit the past in the context of the Second World War. A Realist at War presents a fictional account from 1941, during the Second World War, of two Australian official war artists in North Africa and the Middle East. In Australian art history, the development of art during the Second World War focuses on a core group of modernists, the Heide group, whose members challenged the perceived conservatism of the official war art scheme (Haese, 1981). However, my novella is a fictitious cultural counterpoint to that dominant narrative through the experience of two official war artists, Kurt and George, as told through the letters to a mutual love interest, Meg, who resides in Adelaide, then Owen, South Australia. The experience of the official war artists, considering character, influences, and ambitions, presents a rich era in Australian art and military history to research, analyse, and re-present in a creative act, thus the realisation of the novella, A Realist at War. [...], Thesis (Masters), Master of Arts Research, School of Hum, Lang & Soc Sc, Arts, Education and Law Group, Full Text

Considering the relevance of values education as an element that favors tolerance and facilitates conflict resolution, the following article aims to present the design and implementation of a pedagogical proposal aimed at strengthening values such as tolerance, respect and solidarity, based on three playful and artistic activities, thus minimizing the impact of coexistence conflicts and favoring the management of emotions in an educational institution in the village of Rozo, municipality of Palmira-Valle del Cauca. Methodologically, a qualitative research with a focus on action-participation was developed among a sample of 58 ninth and tenth grade students, with an average age between 14 and 16 years old. The results obtained show that the students had little knowledge in relation to the management of emotions and conflicts; however, from the activities implemented it was possible to leave concerns and proposals for change, so that the students initiate processes of improvement in the management of their emotions, tending to optimize the treatment with their classmates., Considerando la relevancia de la formación en valores como elemento que propicia la tolerancia y facilita la resolución de conflictos, el artículo que se presenta a continuación tiene como objetivo exponer el trabajo de diseño e implementación de una propuesta pedagógica destinada a fortalecer valores como la tolerancia, el respeto y la solidaridad, con base en tres actividades lúdicas y artísticas, buscando con ello minimizar el impacto que tienen los conflictos de convivencia y favorecer el manejo de las emociones en una institución educativa del corregimiento de Rozo, municipio de Palmira-Valle del Cauca. Metodológicamente se desarrolló una investigación de tipo cualitativo con enfoque en la acción participación; entre una muestra de 58 estudiantes de noveno y décimo grado, con un promedio de edad entre 14 a 16 años. Los resultados obtenidos evidencian que los estudiantes tenían pocos conocimientos en relación al manejo de emociones y conflictos; no obstante, a partir de las actividades implementadas fue posible dejar inquietudes y propuestas de cambio, para que los estudiantes inicien procesos de mejora en el manejo de sus emociones, tendientes a optimizar el trato con sus compañeros.

This article introduces three artistic projects focused on various spatial, temporal, and habitational dimensions of Palestinian refugee camps. Conceived by Sandi Hilal and Alessandro Petti in collaboration with the residents of Dheisheh camp in Bethlehem, The Concrete Tent embodies a materialization of the enduring temporality that permeates the camps. Following her involvement in the reconstruction of the dismantled Nahr el-Bared refugee camp in Lebanon, Saba Innab explores in How to Build Without a Land constructive responses to inhabiting practices born out of displacement. Lastly, in the Future Cities series Wafa Hourani critically examines the present and, through three models, envisions possible futures for the Qalandia refugee camp in the West Bank. All three projects both highlight and condemn the enduring temporality that characterizes Palestinian refugee camps today, offering insights into the history, present and potential future of these spaces. In addition, the works also affirm the material value of the camp and the active role of its inhabitants in shaping territorial practices and belongings that challenge more normative ones, while deploying alternative imaginaries, narratives, and meanings of time and place., Este artículo presenta tres proyectos artísticos centrados en algunas dimensiones espaciales, temporales y habitacionales de los campos de refugiados de Palestina. Concebida por Sandi Hilal y Alessandro Petti junto a los habitantes del campo de Dheisheh en Belén, The Concrete Tent constituye una materialización de la temporalidad permanente que atraviesa los campos. En su proyecto How to Build Without a Land, concebido tras su participación en la renovación del desmantelado campo de refugiados de Nahr el-Bared en Líbano, Saba Innab tantea respuestas constructivas a prácticas habitacionales nacidas en el desarraigo. Por último, en su serie Future Cities, Wafa Hourani explora desde la mirada crítica al presente y a través de tres maquetas, los posibles futuros del campo de refugiados de Qalandia en Cisjordania. Los tres proyectos evidencian y denuncian la temporalidad permanente que atraviesa los campos de refugiados palestinos hoy, al mismo tiempo que despliegan una mirada a la historia, el presente y el posible futuro de estos espacios. Además, las obras reivindican el valor material del campo y el papel activo de sus habitantes en la articulación de prácticas y pertenencias territoriales que desafían a las más normativas y enuncian otros imaginarios, relatos y sentidos del tiempo y el lugar.

L’artivisme dels mitjans de comunicació es refereix a l’ús de mitjans digitals i tecnològics per augmentar la conscienciació i facilitar la transformació social i política. Els esforços artístics de Paglen representen una dimensió activista poderosa, particularment, en el seu treball Invisible Images (Your Pictures Llauri Looking You). Paglen hi demostra com les corporacions tecnològiques exploten les imatges dels espectadors. En conseqüència, insta les persones a comprendre millor com funciona la privacitat en el panorama digital contemporani, de manera que exigeix més transparència i responsabilitat a aquestes corporacions. El treball de Trevor Paglen serveix com a un exemple excel·lent de la interacció entre l’art, la ciència i la tecnologia, atès que destaca la importància de l’artivisme dels mitjans de comunicació com a forma de conscienciar i promoure la transformació social. Ofereix un model perquè els artistes emprin eines digitals i tecnològiques per interactuar amb qüestions polítiques i socials urgents, i també per qüestionar el paper de la tecnologia en la societat contemporània. La seva pràctica artística subratlla el potencial de l’artivisme dels mitjans de comunicació com a conducte per examinar críticament la relació entre l’art, la ciència i la tecnologia, i el seu potencial per generar canvis en la societat., Media Artivism refers to the use of digital and technological media to raise awareness and facil-itate social and political transformation. Paglen’s artistic endeavors represent a powerful activist dimension epitomized in particular in his work Invisible Images (Your Pictures Are Looking at You). In this work, Paglen demonstrates how technology corporations exploit the images of viewers. Conse-quently, his work urges people to better understand how privacy works in the contemporary digital landscape, thus demanding more transparency and accountability from these corporations.The work of Trevor Paglen serves as an excellent example of the interplay between art, science and technology, underscoring the significance of Media Artivism as a means of raising awareness and promoting social transformation. Paglen’s work offers a model for artists to employ digital and technological tools to engage with pressing political and social concerns and also to interrogate the role of technology in contemporary society. His artistic practise underscores the potential of media artivism as a conduit for critically examining the relationship between art, science and technology, and its potential to effect change in society., El artivismo mediático se refiere al uso de medios digitales y tecnológicos para aumentar la concienciación y facilitar la transformación social y política. Los esfuerzos artísticos de Paglen representan una poderosa dimensión activista, particularmente, en su trabajo Invisible Images (Your Pictures Are Looking You). En él, Paglen demuestra cómo las corpo-raciones tecnológicas explotan las imágenes de los espectadores. En consecuencia, insta a las personas a comprender mejor cómo funciona la privacidad en el panorama digital contemporáneo, de modo que exige más transparencia y responsabilidad a estas corporaciones.El trabajo de Trevor Paglen sirve como un excelente ejemplo de la interacción entre el arte, la ciencia y la tecnología, destacando la importancia del artivismo de los medios de comunicación como forma de concienciar y promover la transformación social. La obra de Paglen ofrece un modelo para que los artistas empleen herramientas digitales y tecnológicas para interactuar con acuciantes cuestiones políticas y sociales, y también para cuestionar el papel de la tecnología en la sociedad contemporánea. Su práctica artística subraya el potencial del artivismo de los medios de comunicación como conducto para examinar críticamente la relación entre el arte, la ciencia y la tecnología, y su potencial para generar cambios en la sociedad.

Henry van de Velde is one of the most multifaceted architects in the history of architecture in the last century, both in terms of his work and the versatility of the strategies he employed throughout his career. The Belgian architect immersed to a multitude of artistic disciplines, allowing himself to be influenced by the ideas of William Morris’s Arts & Crafts, linking himself to the beginnings of Art Nouveau or becoming involved in the Deutscher Werkbund until 1914. The development of this multidisciplinary attitude, a symptom of his creative evolution, experienced one of its most intense episodes during his working relationship with the Kröller-Müller couple of modern art collectors in the Netherlands. This research unravels Henry van de Velde’s graphic and architectural legacy in the service of the Kröller-Müller family, from the first sketches in the 1920s to the execution of the museum in 1936-57. A true example of the realisation of an architectural dream., Henry van de Velde es uno de los arquitectos más polifacéticos de la historia de la arquitectura del siglo pasado, tanto por su obra como por la versatilidad de las estrategias que emplea a lo largo de su trayectoria. El autor belga se acercó a multitud de disciplinas artísticas, dejándose influenciar por ideas del Arts & Crafts de William Morris, vinculándose a los inicios del Art Nouveau o involucrándose en el Deutscher Werkbund hasta 1914. El desarrollo de esta actitud multidisciplinar, síntoma de su evolución creativa, vive uno de los episodios más intensos durante su vinculación laboral con el matrimonio de coleccionistas de arte moderno Kröller-Müller en los Países Bajos. La presente investigación desgrana el legado gráfico y arquitectónico de Henry van de Velde al servicio de los Kröller-Müller, desde los primeros bocetos en los años 20 hasta la ejecución del museo de 1936-57. Un verdadero ejemplo de materialización de sueño arquitectónico.

This article relates the experience of the research-creation project 'Expression, social ties and mental health'. First, we offer an outline of the context that motivated the initiative; second, the development of creation and implementation workshops; and third, the findings and reflections once the tests were carried out with patients at the San Ignacio University Hospital in Bogotá. The project is a contribution to energize the relationship between patients and health professionals under the figure of the 'artist mediator-patient-health professional' module, allowing access to information not contemplated by the traditional mechanisms of psychiatry, through conversations. The work with volunteer patients allowed us to understand that a person's support network can also be made up of other types of beings, such as imaginary characters, animals, memories of dead loved ones or places, among other possibilities., Este artigo relata a experiência do projeto de pesquisa-criação ‘Expressão, vínculos sociais e saúde mental’. Primeiro oferecemos um esboço do contexto que motivou a iniciativa; segundo, o desenvolvimento e implementação de oficinas de criação; e terceiro, os resultados e reflexões após a realização dos testes com pacientes do Hospital Universitário San Ignacio, em Bogotá. O projeto é uma contribuição para dinamizar a relação entre pacientes e profissionais de saúde sob a figura do módulo ‘artista mediador-paciente-profissional de saúde’, permitindo o acesso a informações não contempladas pelos mecanismos tradicionais da psiquiatria, por meio de conversas. O trabalho com pacientes voluntários permitiu compreender que a rede de apoio de uma pessoa também pode ser formada por outros tipos de seres, como personagens imaginários, animais, lembranças de entes queridos ou lugares falecidos, entre outras possibilidades., Este artículo relata la experiencia del proyecto de investigación-creación ‘Expresión, vínculos sociales y salud mental’. Primero ofrecemos un esbozo del contexto que motivó la iniciativa; segundo, el desarrollo e implementación de talleres de creación; y tercero, los hallazgos y reflexiones una vez realizadas las pruebas con pacientes del Hospital Universitario San Ignacio de Bogotá. El proyecto es una contribución para dinamizar la relación entre pacientes y profesionales de la salud bajo la figura del módulo ‘artista mediador-paciente-profesional de salud’, permitiendo el acceso a información no contemplada por los mecanismos tradicionales de la psiquiatría, mediante conversaciones. El trabajo con pacientes voluntarios permitió entender que la red de apoyo de una persona puede estar constituida también por seres de otro tipo, como personajes imaginarios, animales, memorias de seres queridos muertos o lugares, entre otros posibles.

This article analyzes Guadalupe Maravilla's work "Disease Thrower #2" through Hans-Georg Gadamer's concepts of play, symbol, and festival. Maravilla, a Salvadoran artist, blends his migratory and bodily suffering experiences, particularly his battle with cancer, into an interactive and therapeutic artistic expression. The work, focused on a sanctuary with gongs and ritualistic objects, seeks viewer participation, turning them into co-creators. Gadamer argues that play is essential in the artistic experience, and the festival represents community in its most complete form. The symbolic function of the work, playful interactivity, and the creation of a full temporality highlight its character as a social and transformative event. Together, the artwork challenges traditional art categories by merging the symbolic, playful, and festive in a multisensory experience., Este artigo analisa a obra “Dissease Thrower #2” de Guadalupe Maravilla através dos conceitos de jogo, símbolo e festa de Hans-Georg Gadamer. Maravilla, um artista salvadorenho, funde as suas experiências de migração e sofrimento corporal, especialmente a sua batalha contra o cancro, numa expressão artística interativa e terapêutica. A obra, centrada num santuário com gongos e objetos rituais, busca a participação do espectador, tornando-o cocriador. Gadamer argumenta que a brincadeira é essencial para a experiência artística e que a festa representa a comunidade na sua forma mais completa. A função simbólica da obra, a interatividade lúdica e a criação de uma temporalidade plena destacam seu caráter de acontecimento social e transformador. No seu conjunto, a obra desafia categorias tradicionais de arte ao fundir o simbólico, o lúdico e o festivo numa experiência multissensorial., Este artículo analiza la obra "Disease Thrower #2" de Guadalupe Maravilla a través de los conceptos de juego, símbolo y fiesta de Hans-Georg Gadamer. Maravilla, un artista salvadoreño, fusiona sus experiencias migratorias y de padecimiento corporal, especialmente su batalla contra el cáncer, en una expresión artística interactiva y terapéutica. La obra, centrada en un santuario con gongs y objetos rituales, busca la participación del espectador, convirtiéndolo en co-creador. Gadamer argumenta que el juego es esencial en la experiencia artística, y la fiesta representa la comunidad en su forma más completa. La función simbólica de la obra, la interactividad lúdica y la creación de una temporalidad plena destacan su carácter como evento social y transformador. En conjunto, la obra desafía las categorías tradicionales del arte al fusionar lo simbólico, lúdico y festivo en una experiencia multisensorial.

On December 3, 1980, at the VI Salon Athens in Bogotá, Álvaro Herazo, replacing Fernando Cepeda, participated in the performance Trampa, locking himself for 48 hours in a barricaded cell, inaugurating the performative relationship that combines everyday life and institutional violence in Colombia, Le 3 décembre 1980, au VIe Salon d'Athènes à Bogotá, Álvaro Herazo, en remplacement de Fernando Cepeda, participe au spectacle Trampa, s'enfermant pendant 48 heures dans une cellule barricadée, inaugurant la relation performative qui conjugue vie quotidienne et violence institutionnelle en Colombie, Em 3 de dezembro de 1980, no VI Salão Atenas de Bogotá, Álvaro Herazo, no lugar de Fernando Cepeda, participou da performance Trampa, trancando-se por 48 horas em uma cela barricada, inaugurando a relação performática que combina cotidiano e violência institucional na Colômbia, El VI Salón Atenas de 1980 fue una exposición que privilegió el arte conceptual y de procesos, incluyendo artistas que trabajaban en esas coordenadas en Cali -Alicia Barney-, Barranquilla - Fernando Cepeda, Álvaro Herazo, Sara Modiano-, Medellín —Carlos Echeverry y Ronny Vayda—, con la inclusión en el evento de otros jóvenes de Bogotá que trabajaban en otras coordenadas, -Juanita Pérez, Natalia Rivera y Jaime Silva-. El Salón tenía lugar justo después de la antológica instalación Grano de Miguel Ángel Rojas, que se había presentado en el sótano del mam en octubre. Álvaro Herazo, en reemplazo de Fernando Cepeda, participó en la obra de este último titulada Trampa, un performance consistente en encerrarse durante 48 horas en una celda protegida con una barricada de alambre de púas, con mesa de noche y catre incluido. El encierro, a partir del 3 de diciembre a las 7 de la noche, es narrado por Herazo

Calle14 is a magazine recognized for its editorial quality and, of course, also for the academic quality of its content. Academic quality, as we have expressed in others editorials, depends on the community of creators from Latin America, Spain and the Caribbean, who trust us to socialize their research and research-creation results from our pages. In the national context, the magazine's production company, JAVEGRAF, was awarded for an edition of Calle14 by the Colombian Association of the Graphic Communication Industry, known as ANDIGRAF, Calle14 é uma revista reconhecida pela qualidade editorial e, claro, também pela qualidade acadêmica do seu conteúdo. Qualidade acadêmica, como expressamos em outros editoriais, depende da comunidade de criadores da América Latina, Espanha e Caribe, que confiam em nós para socializar os resultados de suas pesquisas e criações de pesquisa em nossas páginas. No contexto nacional, a produtora da revista, JAVEGRAF, foi premiada com uma edição da Calle14 pela Associação Colombiana da Indústria de Comunicação Gráfica, conhecida como ANDIGRAF, Calle14 es una revista reconocida por su calidad editorial y, claro, también por la calidad académica de sus contenidos. La calidad académica, como lo hemos expresado en otros editoriales, depende de la comunidad de creadores de América Latina, España y el Caribe, que confía en nosotros para socializar desde nuestras páginas sus resultados de investigación e investigación-creación. En el contexto nacional, la empresa productora de la revista, JAVEGRAF, fue galardonada debido a una edición de Calle14 por la Asociación Colombiana de la Industria de la Comunicación Gráfica, conocida como ANDIGRAF

The article aims to outline the state of artistic processes in Ukraine since February 24, 2022, the date on which Russia's full-scale invasion began. It characterizes a brief period of upheaval, a kind of silence in culture, during which artists were confronted with a crossroads, of being or not being, as well as with the question of self-identification and the determination of perspectives: To form a new system of national orientation, a cultural code, or to direct energy to the survival and transformation of goals? abandoning art to its fate? It considers the complex set of aspects that led to a boom in artistic activity in mid-2022 and the first half of 2023 while outlining the culture-shaping factors and stimuli of the artistic life of Ukrainians. It also analyzes the processes that currently sustain the Ukrainian art scene: the constant disappearance of existing works of art and the organization of exhibitions within Ukraine to preserve the artistic life of the country, L’objectif de l’article est de décrire l’état des processus artistiques en Ukraine depuis le 24 février 2022, date à laquelle l’invasion à grande échelle de la Russie a commencé. Il caractérise une brève période de bouleversement, une sorte de silence dans la culture, pendant laquelle les artistes ont été confrontés à un carrefour de l’être ou du non-être, ainsi qu’à la question de l’auto-identification et de la détermination des perspectives : former un nouveau système d’orientation nationale, un code culturel, ou diriger l’énergie vers la survie et la transformation des objectifs ? Abandonner l’art à son sort ? Il examine l’ensemble complexe d’aspects qui ont conduit à un boom de l’activité artistique à la mi-2022 et au premier semestre 2023, tout en soulignant les facteurs et les stimuli de la vie artistique des Ukrainiens. Il analyse également les processus qui soutiennent actuellement la scène artistique ukrainienne : la disparition constante d’oeuvres d’art existantes et l’organisation d’expositions en Ukraine afin de préserver la vie artistique du pays, O objetivo do artigo é descrever o estado dos processos artísticos na Ucrânia desde 24 de fevereiro de 2022, data em que começou a invasão em grande escala da Rússia. Caracteriza um breve período de agitação, uma espécie de silêncio na cultura, durante o qual os artistas foram confrontados com uma encruzilhada do ser ou não ser, bem como com a questão da autoidentificação e da determinação de perspetivas: Formar um novo sistema de orientação nacional, um código cultural, ou direcionar energia para a sobrevivência e transformação de objetivos? Abandonar a arte à sua sorte? Considera o complexo conjunto de aspetos que levaram a um boom da atividade artística em meados de 2022 e no primeiro semestre de 2023, ao mesmo tempo que descreve os fatores e estímulos que moldam a cultura da vida artística dos ucranianos. Também analisa os processos que atualmente sustentam a cena artística ucraniana: o constante desaparecimento de obras de arte existentes e a organização de exposições dentro da Ucrânia, a fim de preservar a vida artística do país, El objetivo del artículo es esbozar el estado de los procesos artísticos en Ucrania desde el 24 de febrero de 2022, fecha en la que inició la invasión a gran escala de Rusia. Se caracteriza un breve período de conmoción, una especie de silencio en la cultura, durante el cual los artistas se vieron confrontados con una encrucijada —ser o no ser—, así como con la cuestión de la autoidentificación y la determinación de perspectivas: ¿Formar un nuevo sistema de orientación nacional, un código cultural, o dirigir la energía a la supervivencia y la transformación de los objetivos, abandonando el arte a su suerte? Se considera el complejo grupo de aspectos que condujeron a un auge de la actividad artística a mediados de 2022 y la primera mitad de 2023, al tiempo que se esbozan los factores formadores de cultura y los estímulos de la vida artística de los ucranianos. Se analizan también los procesos que actualmente sostienen la escena artística ucraniana: la constante desaparición de obras de arte existentes y la organización de exhibiciones dentro de Ucrania en aras de preservar la vida artística del país

This article delves into atmospheric light installations produced in natural locations. In other words, they are works that modify a location through light intervention and allow the public to visit it. In this typology of artistic creation, an essential value is given to individual perception and the exploration of visual stimuli. This conception is linked to some theories of quantum physics and notions of phenomenology, a philosophical current that explains being and its consciousness through the analysis of observable phenomena. In addition, the concept of the journey to the site is integrated into the configuration of the work, both in the production process and in the visualization process. On the other hand, the technical and economic difficulties in maintaining permanent access to the public open a debate on the use of the register, especially on photography, Cet article se penche sur les installations lumineuses atmosphériques produites dans des lieux naturels. En d’autres termes, ce sont des œuvres qui modifient un lieu par une intervention lumineuse et permettent au public de le visiter. Dans cette typologie de la création artistique, une valeur essentielle est donnée à la perception individuelle et à l’exploration des stimuli visuels. Cette conception est liée à certaines théories de la physique quantique et à des notions de phénoménologie, un courant philosophique qui explique l’être et sa conscience à travers l’analyse de phénomènes observables. De plus, le concept du trajet vers le site est intégré dans la configuration de l’œuvre, tant dans le processus de production que dans le processus de visualisation. D’autre part, les difficultés techniques et économiques liées au maintien d’un accès permanent au public ouvrent un débat sur l’utilisation du registre, notamment sur la photographie, Este artigo investiga instalações de luz atmosférica produzidas em locais naturais. Ou seja, são obras que modificam um local através da intervenção luminosa e permitem que o público o visite. Nesta tipologia de criação artística, é dado um valor essencial à percepção individual e à exploração de estímulos visuais. Essa concepção está ligada a algumas teorias da física quântica e noções de fenomenologia, corrente filosófica que explica o ser e sua consciência por meio da análise de fenômenos observáveis. Além disso, o conceito da jornada até o local está integrado à configuração da obra, tanto no processo de produção quanto no processo de visualização. Por outro lado, as dificuldades técnicas e econômicas em manter o acesso permanente ao público abrem um debate sobre o uso do registro, especialmente sobre a fotografia, Este artículo ahonda en las instalaciones lumínicas de carácter atmosférico producidas en localizaciones naturales. Es decir, son obras que modifican un emplazamiento a través de la intervención lumínica y permiten la visita del público. En esta tipología de creación artística, se le concede un valor esencial a la percepción individual y a la exploración de los estímulos visuales. Esta concepción se vincula con algunas teorías de la física cuántica y nociones de la fenomenología, corriente filosófica que explica el ser y su consciencia a través del análisis de los fenómenos observables. Asimismo, el concepto del viaje hasta el emplazamiento está integrado en la configuración de la obra, tanto en el proceso de producción como en el de visualización. Por otro lado, las dificultades técnicas y económicas para mantener un acceso al público permanente abren un debate sobre el uso del registro, especialmente sobre la fotografía

L’artivisme dels mitjans de comunicació es refereix a l’ús de mitjans digitals i tecnològics per augmentar la conscienciació i facilitar la transformació social i política. Els esforços artístics de Paglen representen una dimensió activista poderosa, particularment, en el seu treball Invisible Images (Your Pictures Llauri Looking You). Paglen hi demostra com les corporacions tecnològiques exploten les imatges dels espectadors. En conseqüència, insta les persones a comprendre millor com funciona la privacitat en el panorama digital contemporani, de manera que exigeix més transparència i responsabilitat a aquestes corporacions. El treball de Trevor Paglen serveix com a un exemple excel·lent de la interacció entre l’art, la ciència i la tecnologia, atès que destaca la importància de l’artivisme dels mitjans de comunicació com a forma de conscienciar i promoure la transformació social. Ofereix un model perquè els artistes emprin eines digitals i tecnològiques per interactuar amb qüestions polítiques i socials urgents, i també per qüestionar el paper de la tecnologia en la societat contemporània. La seva pràctica artística subratlla el potencial de l’artivisme dels mitjans de comunicació com a conducte per examinar críticament la relació entre l’art, la ciència i la tecnologia, i el seu potencial per generar canvis en la societat., Media Artivism refers to the use of digital and technological media to raise awareness and facil-itate social and political transformation. Paglen’s artistic endeavors represent a powerful activist dimension epitomized in particular in his work Invisible Images (Your Pictures Are Looking at You). In this work, Paglen demonstrates how technology corporations exploit the images of viewers. Conse-quently, his work urges people to better understand how privacy works in the contemporary digital landscape, thus demanding more transparency and accountability from these corporations.The work of Trevor Paglen serves as an excellent example of the interplay between art, science and technology, underscoring the significance of Media Artivism as a means of raising awareness and promoting social transformation. Paglen’s work offers a model for artists to employ digital and technological tools to engage with pressing political and social concerns and also to interrogate the role of technology in contemporary society. His artistic practise underscores the potential of media artivism as a conduit for critically examining the relationship between art, science and technology, and its potential to effect change in society., El artivismo mediático se refiere al uso de medios digitales y tecnológicos para aumentar la concienciación y facilitar la transformación social y política. Los esfuerzos artísticos de Paglen representan una poderosa dimensión activista, particularmente, en su trabajo Invisible Images (Your Pictures Are Looking You). En él, Paglen demuestra cómo las corpo-raciones tecnológicas explotan las imágenes de los espectadores. En consecuencia, insta a las personas a comprender mejor cómo funciona la privacidad en el panorama digital contemporáneo, de modo que exige más transparencia y responsabilidad a estas corporaciones.El trabajo de Trevor Paglen sirve como un excelente ejemplo de la interacción entre el arte, la ciencia y la tecnología, destacando la importancia del artivismo de los medios de comunicación como forma de concienciar y promover la transformación social. La obra de Paglen ofrece un modelo para que los artistas empleen herramientas digitales y tecnológicas para interactuar con acuciantes cuestiones políticas y sociales, y también para cuestionar el papel de la tecnología en la sociedad contemporánea. Su práctica artística subraya el potencial del artivismo de los medios de comunicación como conducto para examinar críticamente la relación entre el arte, la ciencia y la tecnología, y su potencial para generar cambios en la sociedad.

One of our artists who has managed to weave the symbolic and cultural fabric of our collective memory and identity has been Edgar Queipo, by rethinking the archetypal reconstruction of events, characters, narratives to become the visual chronicler of our city-port. The independence feat and its correlates; Manuel Trujillo Durán, the Belgian architect Hoet, Miguel Ángel Jusayú; Plaza Baralt as the epicenter of the nineteenth century polis and the first decades of the twentieth century, constitute the themes that with intensity and freshness from their own inner voice build the board of our deepest and most rooted dreams and desires. A vast and exuberant fresco combines this particular artist where the neo-identities of our collective personality are redefined., Uno de nuestros artistas que ha logrado hilvanar el tejido simbólico y cultural de nuestra memoria e identidad colectivas ha sido Edgar Queipo, al replantearse la reconstrucción arquetípica de hechos, personajes, narrativas para convertirse en el cronista visual de nuestra ciudad-puerto. La gesta de independentista y sus correlatos; Manuel Trujillo Durán, el arquitecto belga Hoet, Miguel Ángel Jusayú; la Plaza Baralt como epicentro de la polis decimonónica y de las primeras décadas del siglo XX, constituyen las temáticas que con intensidad y frescura desde su propia voz interior van armando el tablero de nuestros sueños y anhelos más profundos y raigales. Un vasto y exuberante fresco conjuga este particular artista donde se redefinen los neos identitarios de nuestra personalidad colectiva.

The relationship between art and politics constitutes one of the fundamental reasons for aesthetic reflection from its very origins, and even more so in historical moments characterized by strong movements of social revolution. From this brief framework, our work is oriented to reconstruct three positions on the relationship between art and the revolution produced in the interwar period of the 20th century. At first, we characterize the doctrine of Socialist Realism proposed in the Soviet Union through the First Congress of Writers (1934). Then, we stop at a document that tried to dismantle the foundations of the aforementioned position: The Manifesto for an Independent Revolutionary Art signed by Leon Trotsky and André Breton (1938). Finally, we explore an alternative form of relationship to the two previous positions based on the considerations of the german philosopher Walter Benjamin about Surrealism and the concept of image (1929)., A relação entre arte e política constitui uma das razões fundamentais da reflexão estética desde as suas origens, e ainda mais em momentos históricos caracterizados por fortes movimentos de revolução social. A partir deste breve enquadramento, o nosso trabalho visa reconstruir três posições sobre a relação entre a arte e a revolução produzida no período entre guerras do século XX. Num primeiro momento, caracterizamos a doutrina do Realismo Socialista proposta na União Soviética através do Primeiro Congresso de Escritores (1934). Em seguida, paramos num documento que buscava desmantelar os fundamentos da posição anteriormente mencionada: O Manifesto por uma Arte Revolucionária Independente assinado por León Trotsky e André Breton (1938). Por fim, exploramos uma forma alternativa de relação às duas posições anteriores com base nas considerações do filósofo alemão Walter Benjamin sobre o Surrealismo e o conceito de imagem (1929)., La relación entre arte y política constituye uno de los motivos fundamentales de la reflexión estética desde sus mismos orígenes, y más aún en los momentos históricos caracterizados por fuertes movimientos de revolución social. Desde este breve marco, nuestro trabajo se orienta a reconstruir tres posiciones sobre la relación entre el arte y la revolución producida en el período de entreguerras del Siglo XX. En un primer momento, caracterizamos la doctrina del Realismo Socialista propuesta en la Unión Soviética a través del Primer Congreso de Escritores (1934). Luego, nos detenemos en un documento que procuró desmontar los fundamentos de la posición anteriormente señalada: El Manifiesto por un Arte Revolucionario Independiente firmado por León Trotsky y André Breton (1938). Finalmente, exploramos una forma de relación alternativa a las dos posiciones anteriores basándonos en las consideraciones del filósofo alemán Walter Benjamin acerca del Surrealismo y el concepto de imagen (1929).

In the decoration of the Jesuit church of San Pedro in Lima, the presence of canvases with Latin inscriptions is interesting. This study is dedicated to the analysis of three specimens located in the pilasters of the central nave. These are works attributed, for iconographic and stylistic reasons, to a Quito workshop from the late 17th century. The study of the works and their inscriptions give us the opportunity to make some reflections on iconographic originality with respect to possible reference models and on the function of Latin in the transmission of the Christian message by the Jesuit Order, En la decoración de la iglesia jesuita de San Pedro en Lima la presen-cia de lienzos con inscripciones en latín resulta de particular interés. Este estudio está dedicado al análisis de tres ejemplares ubicados en las pilastras de la nave central. Se trata de obras atribuidas, por razones iconográficas y estilísticas, a un taller quiteño de finales del siglo XVII. El estudio de las obras y, en particular, de sus inscripciones nos da la oportunidad de hacer algunas reflexiones sobre la originalidad iconográfica respeto a los eventuales modelos de referencia y sobre la función del latín en la transmisión del mensaje cristiano por parte de la orden jesuita

The photographic work of Stanley Kubrick has historically been overshadowed by the enormous prestige of his films. An exhaustive analysis of all his work (filmic and photographic), under a new perspective in which the mechanical arts are to be placed in the center of the plastic arts-mechanical arts-mass culture continuum, evidences the important innovative potential, epistemologically speaking, of his photographs. This heuristic capacity is concentrated in several aspects: a) the study of his photography as an artistic expression of an initially undefined or generic creative impulse; b) the importance of photography in the field of comparative aesthetics; c) the photographic performance as a fundamental basis for his subsequent cinematographic work; d) the relevance of mass culture in these creative and artistic fields. This explanatory capacity of Kubrick's photography can be extrapolated as an analytical method under the evolution of the civilization of the mass-image, the last phase of mass culture., La obra fotográfica de Stanley Kubrick ha sido históricamente opacada por el enorme prestigio de sus películas. Un análisis exhaustivo de todo su trabajo (fílmico y fotográfico), bajo una nueva perspectiva en que las artes mecánicas han de ser situadas en el centro del continuum artes plásticas-artes mecánicas-cultura de masas, evidencia la importante potencialidad innovadora, epistemológicamente hablando, de sus fotografías. Esta capacidad heurística se concentra en varios aspectos: a) el estudio de su fotografía como expresión artística de una pulsión creativa inicialmente indefinida o genérica; b) la importancia de la fotografía en el ámbito de la estética comparada; c) el desempeño fotográfico como base fundamental para su posterior trabajo cinematográfico; y d) la relevancia de la cultura de masas en estos ámbitos creativos y artísticos. Esta capacidad explicativa de la fotografía de Kubrick puede extrapolarse como método analítico bajo la evolución de la civilización de la imagen-masa, fase última de la cultura de masas.

ObjectivesThe aim of this analysis was to investigate the impact of hepatitis B virus (HBV) coinfection on the risk of HIV viral rebound (VR) after achieving suppression for the first time following initiation of antiretroviral therapy (ART) in the real-world setting. DesignPatients living with HIV (PLWH) who were enrolled in the ICONA Foundation Study cohort and achieved viral suppression <= 50 copies/mL for the first time after starting ART were prospectively evaluated and divided in three exposure groups according to serology test results: (a) HIV-monoinfected; (b) HIV-positive/HBcAb-positive/HBsAg-negative; (c) HIV-positive/HBsAg-positive. The occurrence of VR, defined as two consecutive HIV-RNA values >50 copies/mL after achieving viral suppression for the first time (baseline), was investigated. MethodsStandard survival analysis by means of Kaplan-Meier curves and Cox regression analysis with the serology exposure fitted as a time-fixed covariate measured at baseline was employed after controlling for key confounding factors. ResultsOf a total of 5657 patients included, 4090 (72%) were HIV-monoinfected, 1342 (23.7%)were HBcAb-positive, and 225 (3.9%) were HbsAg-positive coinfected. Overall, 654 (11.5%) PLWH experienced VR > 50 copies/mL during follow-up. After controlling for all sources of measured confounding, coinfected PLWH showed an increased risk of experiencing VR compared with those who were HIV-monoinfected. In particular, the strongest associations were seen for the HIV/HBsAg-positive participants [adjusted hazard ratio (aHR) = 1.56, 95% confidence interval (CI): 1.03-2.38, p = 0.037] but an excess of risk was also seen in those who were HIV-positive/HBcAb-positive/HBsAg-negative (aHR = 1.25, 95% CI: 1.00-1.55, p = 0.047). ConclusionsCoinfection with HBV seems to have an impact on the probability of maintaining HIV viral suppression achieved for the first time after ART initiation. Of note, even PLWH positive for HBcAb, a marker of inactive

A book review of 'Wayward Feeling: Audio-Visual Culture and Aesthetic Activism in Post-Rainbow South Africa' (2022), in which cultural theorist and literary scholar Helene Strauss focuses on how “political emotions that surge unpredictably across the social”, result not only in melancholic paralysis, but animate resistance and multiple forms of aesthetic activism. Through tracing what she terms “wayward feelings”—complex, unwieldy, affective responses to the post-apartheid present—and how they are made manifest and mediated through the work of artists, activists, writers, and filmmakers, Strauss provides a seismographic reading of the present.

• Referencias bibliográficas: • Bhabha, Homi K., El lugar de la cultura. Buenos Aires: Manantial, 2002. • Castro-Gómez, S. Desconolizar la universidad: la hybris del punto cero y el diálogo de saberes. En El giro decolonial. Reflexiones para una... • Castro-Gómez, Santiago, “¿Qué hacer con los universalismos occidentales?”. En Raíces comunes e Historias compartidas, coordinado por Alain... • Castro-Gómez, Santiago, Revoluciones sin sujeto. Slavoj Žižek y la crítica del historicismo posmoderno. Madrid / México: Akal 2015. • De Bono, Edward, El pensamiento lateral. Manual de creatividad (Barcelona: Paidós, 2013). • De Sousa Santos, Boaventura, Descolonizar el saber, reinventar el poder (Uruguay: Trilce, 2010). • Deleuze, Gilles y Félix Guattari, Capitalisme et schizophrénie 1. L Anti-Edipe (París: Minuit, 1972). • Deleuze, Gilles y Félix Guattari, Capitalisme et schizophrénie 2. Mille plateaux (París: Minuit, 1980). • Deleuze, Gilles y Félix Guattari, Mil mesetas. Capitalismo y esquizofrenia (Valencia: Pretextos, 2010). • Deleuze, Gilles y Félix Guattari, Rizoma (Mil Mesetas) (París: Minuit, 1980). • Duque, Joao Manuel, El dios ocultado (Salamanca: Sígueme, 2017). • Egan, Kieran, La Imaginación En La Enseñanza Y El Aprendizaje (Buenos Aires: Amorrortu, 1992). • Ellsworth, Elisabeth, ¿Why Doesn’t This Feel Empowering? Working Through the Repressive Myths of Critical Pedagogy. Harvard Educational Review... • Fiorini, Héctor, El psiquismo creador. Teoría y clínica de procesos terciarios (Barcelona: Nueva visión, 2006). • Fromm, Eric, The forgotten Language: an Introduction to the Understanding of Dreams, Fairy and Myths (New York: Henry Holt & Co, 1951). • Fukuyama, Francis ¿El fin de la historia? (1989), Claves de razón práctica, 1 (1990). • Fukuyama, Francis, El Fin de la Historia y el Último Hombre (Barcelona: Planeta, 1992). • Gadamer, Hans-Georg, Hermenéutica, estética e historia (Salamanca: Sígueme, 2001). • Garcés, Marina, Nueva ilustración radical (Barcelona: Ana, La percepción acelerada del tiempo en la actualidad es el resultado de cómo la época moderna ordena la realidad, especialmente en Occidente. La modernidad concibe el tiempo como un fenómeno lineal y progresivo que busca su consumo y no un «buen vivir». Tiempo y pensamiento están relacionados, por lo que repensar la construcción del pensamiento hoy en la cultura de la globalidad y la pluralidad puede aportar claves para afrontar el cambio de época. Este texto pretende indagar, a partir de un acceso interdisciplinar –desde la pedagogía, la filosofía, la teología y el arte–, como el pensamiento rizomático puede tejer un modelo descentrado de conocimiento que represente mejor la realidad. Para ello nos ayudaremos de la noción de «descolonización del saber» de las teorías decoloniales. El pensamiento rizomático nos invita a pensar, creer, vivir y crear desde la diversidad. La diversidad del pensamiento es una oportunidad para aprender a vivir «viviblemente»., Today’s accelerated perception of time is the result of how the modern age orders reality, especially in the West. Modernity conceives of time as a linear and progressive phenomenon that seeks consumption rather than a “good life”. Time and thought are related, which is why rethinking the construction of thought today in the culture of globality and plurality can provide keys to face the change of era. This text aims to investigate, based on an interdisciplinary approach – from pedagogy, philosophy, theology and art – how rhizomatic thought can built a decentred model of knowledge that better represents reality. To do this, we will draw on the notion of “decolonization of knowledge”; from decolonial theories. Rhizomatic thinking invites us to think, believe, live and create from diversity. Diversity of thinking is an opportunity to learn to live “liveably”., Depto. de Estudios Educativos, Fac. de Educación, TRUE, pub

My dissertation traces the valences of a moment in contemporary Anglophone publishing in India that is slowly marking the presence of an articulate Indigenous voice. In contemporary India, the Adivasi–sometimes called tribal or Indigenous, each term mired in a painful history––exist in a perpetual zone of disenfranchisement. With increasing encroachment upon traditionally held resources and occupations, Adivasi individuals have had to negotiate an exponentially threatened lifeworld. However, there is resistance to be found. A complex picture of Adivasi creative intervention emerges, challenging any attempt to speak for the Adivasi body by the dominant order. I examine the possibilities of one such intervention via the contemporary Anglophone picturebook published by the alternative publisher Tara Books. Tara Books has established itself as a publishing house reputed for its significant and sensitive collaboration with more than one Adivasi community.The first chapter locates the 2014 Creation, illustrated by Pardhan Gond artist Bhajju Shyam, as a site of a self-representation in response to anthropological and visual appropriation of the tribal body, while chapter two examines Bhajju Shyam’s 2004 The London Jungle Book as a reversal of the colonial-ethnographic gaze. Chapter three examines the 2009 Flight of the Mermaid, also illustrated by Bhajju Shyam, to trace the possibilities of understanding Pardhan Gond art as an example of speculative aesthetics. The fourth chapter discusses Durgabai Vyam’s 2005 Sultana’s Dream and 2010 The Churki Burki Book of Rhymes to focus the picturebook on gender. Women’s labor is understood to be the “alphabet of Gond art” but its recognition is missing in the list of Pardhan Gond practitioners today. Using literary analysis, visual analysis, and ethnographic interviews of the artists, the study builds on the pioneering work of scholars Michelle Raheja, Saloni Mathur, Jyotindra Jain, Roma Chatterji, and Aurogeeta Das; and breaks new g

Hegel is often interpreted as undertaking two independent projects. Hegel is praised for his insight into the connection between the theory, artwork, religion, and concrete way of life of various cultures. However, Hegel is condemned for constructing an “Absolute” system of knowing that selectively focuses on his own culture’s theory, ethical attitudes, and way of life. Hegel is often interpreted as understanding his Absolute as the pinnacle of human knowledge that reconciles all normative and theoretical conflicts within past cultural worldviews and ways of life. This bi-furcation is especially pronounced in scholarship on Hegel’s Lecture on Aesthetics. Many scholars suggest we ignore Hegel’s discussions of the Absolute and attend only to his discussion of particular artistic works and movements. In this dissertation, I first provide an alternative reading of Hegel’s Absolute. For Hegel, any articulation of the Absolute is also an act of reconciliation (versöhnung). Reconciliation aspires to redeem theoretical and normative conflict by re-framing natural laws and ethical principles as synchronized with the concrete reality of particular peoples, social institutions, and empirical observations. In this way, reconciliation grounds individuals in universal principles that orient them towards harmony within themselves, with each other, and with nature. For Hegel, any conception of the Absolute is justified through its presentation of universal principles that can systematically unify a community’s observations of nature and history into a comprehensive theory, and properly normatively orient that community within that understanding of history and the cosmos. Using this hermeneutic, I will also illustrate how we can read Hegel’s Lectures on Aesthetics as a unified work. On the one hand, Hegel's local cultural insights arise from his understanding of art as a way of expressing the Absolute that produces a proper reconciliation for the historical moment in question. On th

BACKGROUND: Safer conception services are needed to minimize HIV transmission among HIV sero-discordant couples desiring pregnancy. Few studies have evaluated the choices couples make when they are offered multiple safer conception methods or real-world method acceptability. This paper addresses an important knowledge gap regarding factors that influence the choice of safer conception methods, couples actual experiences using safer conception methods, and why some couples switch safer conception methods. METHODS: Between February and June 2019, we conducted semi-structured in-depth interviews among 14 men and 17 women, representing 17 couples who exited the SAFER study-a pilot safer conception study for HIV sero-discordant couples in Zimbabwe that offered couples a choice of ART with monthly viral load monitoring (ART/VL), oral PrEP, vaginal insemination, and semen washing. All couples in SAFER had used at least two safer conception methods. RESULTS: We found that safer conception method choice often centered around a desire for intimacy, condomless sex, and certainty in the conception process, particularly for men. Method-related attributes such as familiarity, perceived ease of use, side effects, and perceived level of effectiveness in preventing HIV and achieving pregnancy influenced method choice, switching, and satisfaction. Concerns were expressed about each safer conception method and couples were willing to try different methods until they found method(s) that worked for them. The majority of participants reported having positive experiences using safer conception, especially those using ART/VL + PrEP, citing that they were able to attempt pregnancy for the first time with peace of mind and experienced joy and satisfaction from being able to achieve pregnancy safely. CONCLUSIONS: The differences in method preferences and experiences voiced by participants in this study and in other studies from the region point to the importance of having a variety of safer