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Fluxus and Zaj issue a challenge to the Historiography of Art as pioneers of Performance Art. Born in the beginning of the sixties, both experimental Neo-Avant-Gardes inaugurated this new kind of artistic practice, which emphasizes eventuality and multiplicity, and thus excludes the creation of concluded, closed, lasting works of art. The present paper deals with the difficulties that such a practice poses to Art Historians. It does so by means of a methodological approach of historiographical reconstruction, to which a critical analysis is applied, allowing for new ways of interpreting and understanding this challenge. Moreover, being carried out as a comparative analysis between both Zaj and Fluxus, this article points out relevant affinities and differences between them, helping outline the character and singularity of each one.

This paper explores the widespread practice of adding multiple inscriptions to a single artwork at different times in the fifteenth to seventeenth centuries China. Such practices became prominent when literati painters revisited artworks they had previously created or owned, or when paintings had accumulated a multitude of inscriptions over time. Within the realm of Chinese art discourse, this phenomenon is denoted as “re-inscriptions.” By examining re-inscriptions written on extant paintings and embodied in individual anthologies, this paper demonstrates that these texts transcended the boundaries of art and touched upon the painters’ own lives and the society in which they lived. On the one hand, literati painters engaged in a dialogue with their past selves through re-inscriptions, exploring themes of mortality, aging, and the passage of time – topics seldom addressed in traditional Chinese painting. On the other hand, they utilized re-inscriptions as a means of social interaction, with some re-inscriptions becoming formulaic, adaptable to various artworks to meet different social needs. Furthermore, when faced with preexisting inscriptions on an artwork, artists added new ones for a conversation with their predecessors. Throughout this process, the accumulation of inscriptions transformed the artwork into a layered cultural narrative, and enabled the literati painters in shaping a elite community transcending time and space.

This paper investigates how Chinese taxi drivers utilize low-tech equipment, such as handheld radios and mobile phone services, to form local ride-hailing networks. Previous studies have analyzed how Internet platforms like Didi Chuxing have reshaped labor relations through technology and policies, but they have ignored the fact that outside metropolitan areas, traditional technological solutions, such as on-call radio platforms, have not been replaced by the rapidly expanding ride-hailing platforms. Therefore, to outline China’s diverse ICT practice environment, this paper focuses on a case study in two Chinese towns (Laizhou, Shandong; Ziyang, Sichuan), shifting the attention from metropolitan areas to neglected fourth- and fifth-tier cities. After reviewing the previous advancements in mobile communication technology, we discuss the economic, cultural, and social motivations behind the use of ‘low-tech’ devices and cooperative services by the Chinese taxi drivers in question.

With the development and application of algorithms as catalysts, the changing modes of information production, dissemination, and consumption have also given rise to a myriad of serious ethical challenges. This study employs a multi-case approach and semistructured in-depth interviews to examine three prominent international information technology companies, namely, Meta, Sina, and Byte Dance. By investigating the utilization of algorithms in content creation and distribution and adopting an epistemic, ethical framework, this paper analyzes the phenomenon of information cocooning resulting from inconclusive algorithmic evidence, the presence of algorithmic black boxes stemming from inscrutable evidence, and the issue of algorithmic bias caused by misguided evidence. Consequently, this paper proposes three fundamental ethical principles for algorithmic systems: certainty, interpretability, and reliability.

This paper examines the correlation between the form and surface visual narrative of Han bamboo-carved stationery and painting, with the purpose of comprehending how bamboo carving articulates the material and cultural universe of the Han people. During the mid-Ming and Qing dynasties, the Han literati possessed a large number of exquisite bamboo-carved stationeries with landscape motifs. The relationship between bamboo carving landscape motifs and landscape painting is a manifestation of the fusion of Confucian religions in the Han literati culture. We combine a discussion of the decorative motifs in bamboo carving work together with the brushstrokes, techniques and composition of landscape painting in order to explore the expression of culture in bamboo carving. Although bamboo carving art mainly represents the interaction between bamboo carving artists and the material pursuit of literati, it also exhibits the development relationship between painting and craftsmanship. The landscape motif theme of bamboo carving is the representative of craftsmanship and innovation across materials. This is also a valid reason for investigating how Han craftsmanship gradually became professionalized and artistic. The paper argues that bamboo carvings as utensils created a new stage for Han literati culture and facilitated contact with the private market.

The article analyses one of Japanese calligraphy’s (shodō 書道) particularities: the notion of “emptiness”, “nothingness”. This concept can be observed in different layers of the art: from the white of the paper, to the movement of the brush after it has been lifted from the paper to the interpretative process. In this way, there are instances of “emptiness” during several stages of creation and understanding of a calligraphic work. In order to illustrate this, our article will analyse two shodō 書道 works, pinpointing the use of “emptiness”, or “nothingness”, and the effect they create for the calligraphic work as a whole. We conclude that in order to grasp the transcendent meaning, one must take into account all elements present within a calligraphic work, including the instances of “emptiness”.

Este paper visual da cuenta del proyecto Jababacoa del colectivo artístico C.A.S.I.T.A (Loreto Alonso, Eduardo Galvagni y Diego del Pozo) + Luis Gárciga. El proyecto comenzó con la instalación de un taller de confección textil en el Museo Histórico de Guanabacoa (La Habana, Cuba). Con máquinas de coser modernas y todos los materiales necesarios, se convocó a las antiguas trabajadoras de los talleres textiles que hasta los años noventa podían encontrarse en el municipio de Guanabacoa. Se trataba de la creación de un espacio, pero también de una reconstrucción de la historia oral de estas mujeres, así como de la oportunidad para compartir posiciones y preguntas sobre modos de producción y nuevos imaginarios. Con los materiales documentales y las ideas que surgieron en la colaboración, realizamos una instalación audiovisual con proyecciones de videomapping que se presentó en el Centro de Desarrollo de las Artes Visuales para la XIII Bienal de La Habana en 2019. Recordar colectivamente las prácticas de mujeres de estos antiguos talleres de costura es el punto de partida desde el cual desplegamos muy distintos ejes de reflexión y creación, como lo industrial y lo artesanal, y sus implicaciones en los modelos productivos, la identidad local y el patrimonio, la producción afectiva ligada a las condiciones de trabajo, y las formas de conciliar vida privada y laboral, especialmente la manera en la que las mujeres consiguen ser trabajadoras, amas de casa, madres, hijas, etc. Se trata de reactivar una memoria colectiva que queremos inscribir en el contexto de un museo de historia, para lo que convertimos una de sus salas en taller de confección. Las jabas o bolsas que confeccionamos son objetos-relatos de un proceso de transmisión oral de fragmentos de la memoria colectiva, que comparten una perspectiva feminista y que orbitan alrededor de experiencias de vida en los años 90´s, momento en que los talleres textiles semi-industriales empezaron a cerrar o transformarse como consecuencia relativa a la caída del bloque de países socialistas en Europa del Este. Los materiales producidos y la documentación de la experiencia se presentaron en el Museo Histórico de Guanabacoa, en el que también organizamos una charla con especialistas de patrimonio industrial e historia del municipio, como parte del programa de actividades públicas de la Bienal. Como elementos simbólicos, hemos tenido muy en cuenta la necesidad de transmitir no solo los contenidos de una historia de trabajo y producción, sino los afectos que la experiencia de los talleres dejó en sus trabajadoras, así como la huella de su desmantelamiento en términos económicos, pero sobre todo humanos. La instalación refleja algunos elementos simbólicos y da cuenta de un constante cambio de las escalas entre lo individual y lo global, o de lo local y lo universal. Jababacoa propone añadir a la identidad histórico-cultural de Guanabacoa, frecuentemente relacionada con las prácticas religiosas afrocubanas, su pasado obrero como centro de producción industrial. A través de conversaciones entre las participantes y de la creación de situaciones, tratamos el concepto de trabajo más allá de su dimensión remunerada, para visibilizar sus implicaciones sobre lo identitario y lo afectivo, y los procesos de subjetivación e interrelacionalidad. Trabajamos públicamente con estos asuntos para poder, a partir de esta identificación, conseguir referencias comunes para futuros posibles. This visual paper provides an account of Jababacoa, a project by the artist collective C.A.S.I.T.A (Loreto Alonso, Eduardo Galvagni and Diego del Pozo) + Luis Gárciga. The project started with the mounting of a textile manufacturing workshop in the History Museum of Guanabacoa in Havana, Cuba. With modern sewing machines and every necessary material, former workers of the textile workshop, who could be found in Guanabacoa until the 90s, were convened. It was about the creation of a space, but also about the reconstruction of these women’s oral history. Additionally, it was an opportunity to share standpoints and questions about production methods and new imaginaries. With documentary material and the ideas that came up during the collaboration, we created an audiovisual installation with video mapping projections that was exhibited in the Visual Arts Development Center for the 13th Havana Biennial in 2019. Collectively remembering women’s practices in these former sewing workshops is the starting point from which we unfolded very different paths of analysis and creation, such as theindustrial and the handcrafted, their implications in production models, local identity and patrimony, the emotional production linked to the working conditions, and the ways to reconcile private and work life, especially how women manage to be workers, housekeepers, mothers, daughters, etc. It is about reactivating a collective memory that we want to inscribe in the context of a history museum. To do that, we transformed one of its rooms into a textile workshop. The jabas or bags we manufactured are both objects and tales of an oral transmission process of collective memory fragments that share a feminist perspective and orbit around life experiences in the 90s, when semi industrial textile workshops began to close or to be transformed as a consequence of the fall of the socialist bloc in Eastern Europe. The resulting materials and the documentation of the experience were introduced in the History Museum of Guanabacoa, where we also organized a talk with specialists in industrial patrimony and the town’s history as part of the Biennial’s public activities program. Regarding symbolic elements, we have kept in mind the need to transmit not only the contents of a history of labor and production, but also the emotional footprint that the workshop experience left on its workers, as well as the mark left by the workshop dismantling from an economic and, more importantly, a human perspective. The installation reflects some symbolic elements and highlights the constant change in the scale between the individual and the global, or the local and the universal. Jababacoa sets out to add Guanabacoa’s laboring past as an industrial production center to its historical and cultural identity, which is frequently associated with Afro-Cuban religious practices. Through conversations among the participants and the creation of situations, we addressed the concept of labor beyond its monetary side, raising awareness about its implications on identity and emotions, and the processes of subjectification and interrelationality. With this identification as a starting point, we worked on these issues together with the public to be able to get common reference points for possible futures.

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.

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.

This paper presents some aspects of socially engaged art proposals, such as collaborative methods, affective relationships, and the production of the common. Currently, we observe in transdisciplinary projects and collective actions a growing focus on collaborative practices as attempts to go beyond practices strictly engrained in established institutional spaces such as museums, universities, and governmental or private spaces. With the perspective of a certain local activation of collective pieces of knowledge and practices, these artistic proposals aim at the circulation of knowledge, its integration and contamination by unusual places, narratives and methodologies belonging to each daily life. Therefore, we find in socially engaged artistic practices artistic interventions that highlight the power of affects for the production of knowledge managed in communities, making us think about what relationships consist of and how they may or may not give space for the common. We understand that by considering the power of affects and art in their political and social dimensions, we incorporate a discourse of difference that allows for other possible forms of communal living.

This article examines the issue of heterogeneity in relation to workers' representation within digital platforms. Specifically, the research analyses the regulatory process that took place within the food-delivery sector in Italy, investigating how the heterogeneity of couriers is reflected in the Just Eat Takeaway agreement signed in 2021. The novel contribution of this paper is to relate two perspectives – those of workers and unions – that have rarely been considered together in the literature on digital labour platforms. Based on extensive qualitative research in Milan, the heterogeneity of riders is synthesized into a threefold typology identified by three metaphors: the explorer, the entrepreneur and the labourer. It is argued that the introduction of a standard employment contract has led to an increase in workers’ rights and social protection. However, the current form of the agreement favours less vulnerable riders – the explorer – at the expense of those who are more numerous and dependent on platform income – the entrepreneur and the labourer. We conclude that this agreement can be interpreted mainly as a means for trade unions to legitimise their institutional role in the socio-economic arena and strengthen their power resources for future negotiations.

This paper explores how concepts from two influential strands of liberalism, new liberalism and neoliberalism, are represented in a sample of online media articles by analysing news coverage of the Trade Union Act (2016). The analysis centres on internet news items published on the websites of The Guardian, The Daily Mail, Sky News, and BBC News. To systematise the analysis, three thematic axes were constructed: a) Democracy, Law and Order; b) Civil and Labour Rights; c) Military Metaphors, Privileges and Trade Unions.

The paper examines the roles of Crescas and Spinoza in the transition from the medieval to the modern conception of the universe. Crescas is presented as an illustrative example of the tension between Aristotelianism and revealed religion and how the latter brings about the dissolution of the former, thus paving the way for the modern conception of the universe. It is then showed how this modern conception is embodied in Spinoza’s thought, which radicalizes some of its defining traits. This radicalization undermines the traditional conception of the Deus absconditus and leads in Spinoza to the replacement of religion by philosophy as the true divine revelation.

The present paper discusses how various elements in shōjo manga (Japanese comics for girls) have been incorporated in works of Japanese contemporary literature. The connection between shōjo manga and literature was pointed out for the first time when the novel Kitchen by Yoshimoto Banana was published in 1987. This paper argues that this connection has developed further since then, focusing on one of the most active writers in contemporary Japanese literature, Miura Shion[1]. The paper briefly introduces the genre shōjo manga and describes its connection with the novel Kitchen before analysing a short story and an essay by Miura Shion, focusing both on their motifs and styles, to identify elements influenced by shōjo manga.

This paper explores the experience of women in academia by looking both back and at the present. We consider two women who searched for and found academic accomplishment. Together, they serve as representatives of a new way of living for women in the late-19th and early-20th centuries. Eliza Ritchie (1856-1933) from Canada and María Goyri (1873-1954) from Spain are exemplars of the emerging contributions of women in the academy as part of the changing role for women in Western culture and the need for women to support each other in shared feminist causes. These women shared the same time period, the same intellectual values, the same commitment to scholarship, and the same incredible determination to help develop a modern society that could embrace the full incorporation of women. This paper considers their accomplishments in light of academia today in both Canada and Spain in regards to the advancement of women. It also examines some lingering inequalities in terms of tenure and promotion, salary, research capacity, administrative and leadership positions. Such an international collaboration contributes to the shared sense of sisterhood for women in academia today.

This paper is focused on private tomb scenes with mourners dated to the end of the 18th Dynasty located in the Egyptian Memphite necropolis, with a special interest on the artistic resources and the clear division of groups according to the gender of mourners, as mourning men in expressive attitudes are particularly rare in ancient Egyptian scenes. The presence of men in grief, together with the traditional female mourners, within the funerary procession is striking, portraying expressive poses which provoke feeling of empathy and sorrow in the beholder. Indeed, the expressions of feelings in mourning scenes and their diverse artistic treatment in Memphite tomb decoration reveals the innovation and originality of the artists, features that could be traced back to the reign of Akhenaten. This paper explores the complex process of creation of the funerary iconography of the Post-Amarna art, a period of religious, political and social changes which were mirrored in private tomb scenes.

The paper presents Eastern-Slavonic rushnyks (embroidered towels with a sacral meaning) with the images of death. Despite the fact that the origin of them was printed cross-stitch papers, these images became folklorized, as there have been many transformations in folk culture (both formal and mental). The aim of the article is to show different understandings of one and the same picture (a grave cross with guelder roses twigs wrapped around it and two birds sitting against each other on the twigs) and the typical inscription (“My grave is under the cross; my love is on the cross”) to it. This is possible by analyzing various combinations of mentioned visual and verbal formulas with others that were also embroidered on rushnyks in conjunction with the previous ones. The author makes the conclusion that hanging on the walls, Eastern-Slavonic embroidered towels with such formulas presented, for the most part, memento mori topic, demonstrating various forms and manifestations of passing away.

It is argued that legal language should be formal, precise and clear to avoid ambiguity and/or misunderstanding. As rights and duties are communicated through modals, clarity and precision in drafting and translating them is crucial. Otherwise, there is a possibility of conveying loose messages in the source text or different and/or inconsistent messages in the target text. However, the drafting of Arabic modal expressions does not follow clear guidelines, and their translation differs from one translator to another. This paper investigates how deontic modality of obligation and prohibition is used in The Leeds Annotated Parallel Corpus of Arabic-English Constitutions in comparison to The Leeds Monolingual Corpus of English Constitutions. More specifically, the paper presents a classification of these modal expressions and investigates the different lexical variants expressed in a Corpus of Arabic Constitutions. The paper uses corpus-based tools to analyse the different lexical forms used for deontic modality of obligation and prohibition in Arabic and how they are rendered into English. Results of such analysis are compared to a non-translated Corpus of English Constitutions to find out whether the deontic meaning of the modals is comparable to the set of deontic modals used in the constitutions originally drafted in English. The corpus-based analysis gave a detailed classification of a variety of modal expressions used in the Arabic Corpus. It also showed that the translation of deontic modals of obligation and prohibition from Arabic into English is influenced by the source text lexical variations; however, the corpus techniques employed in the study managed to capture some comparable modals in both corpora.

This paper works on the notion of transgenre (Monzó-Nebot 2001a, 2002a, b), its uses and possibilities in the study of translation as mediating intercultural cooperation. Transgenres are discursive patterns that develop in recurring intercultural situations and are recognized and used by a community. Based on the reiteration of communicative purposes and individuals’ roles in translated situations, interactions are conventionalized to streamline cooperation between cultural and social groups, thereby engendering a distinctive set of taken-for-granted assumptions and meaning-making mechanisms and signs which are particular to a translated event. The paper will first argue how this concept takes a step beyond the existing proposals from cultural, social, and linguistic approaches, especially the third space, the models of norms and laws of translation, and universals and the language of translation (translationese), by focusing on the situatedness of textual, interactional, and cultural patterns and providing a means to model and measure the development of translation as a discursive practice, as such influenced by historical, cultural, social, cognitive, ideologic, and linguistic issues. Then existing applications of the concept and new possibilities will be identified and discussed. The results of existing studies show translations build a third space of intercultural discursive practices showing tensions with both source and target systems. The legal translator is at home in this third space, resulting from their own cultural practices, which are linked to translators’ specific function in a broader multicultural system.

Unconventional monetary policy was implemented as a result of the financial crisis and resulted in rising asset prices in the stock markets. While the increase in asset prices is not exclusively triggered by unconventional monetary policy, central bankers accept that unconventional monetary policy has resulted in distributional effects on wealth, and that these are not negligible. What is missing are studies analyzing whether these non-standard monetary policies have different distributional effects on women and men. The intent of the paper is to interrogate whether unconventional monetary policy of central banks has a gender bias that operates in favor of men as gender and against women as gender. Relying on insights from feminist economics, the paper uses the results of the ECB Household Finance and Consumption Survey (HFCS) of 62,000 household across 15 euro-area countries. While the results are tentative, they show an asymmetric distributional gendered impact. Since the rich own more assets than the poor, and since monetary easing works in part by raising asset prices, these unconventional policies may unintentionally benefit the wealthier quintile (on average more male) at the expense of the poorer strata of society (on average more female).

This work is structured around two exploratory objectives. Firstly, it aims to analyse the effects of connective participation and consumption in which donations in political crowdfunding campaigns can be framed. Secondly, it will study the characteristics and socio-demographic profile of the people who donate to political crowdfunding campaigns. In order to obtain information, we have developed a questionnaire that has resulted in a non-probabilistic purposive sample of one hundred and twenty-five valid and complete responses. The paper closes with a discussion and the presentation of two hypotheses that reflect the main findings of this exploratory study. On the one hand, the characteristics and profile of the participants would be predominantly male, middle-aged (thirty-six to fifty years old), with a high level of formal education (university studies) and a medium income level. On the other hand, the participation analysed is hegemonic among activists with experience and commitment. This fact could reflect an increase in participatory inequalities between participatory and nonparticipatory people as a consequence of the characteristics of the forms of connective action and consumption.

The aim of this paper is to explore the grammatical category of person in Italian, taking into consideration social deixis in the communication that takes place through Facebook. Social deixis is understood here as various means by which information of social nature is coded and grammaticalizedin a language. Such information concerns the situational context of the communication, social roles of its participants and their reciprocal relations (cfr. Levinson 1993: 83). The analysis focuses on phenomena that are related to social deixis such as personal pronouns, possessive pronouns and adjectives, verb forms, honorific titles, diminutives. Facebook has been chosen as a source of authentic material due to its expansion in Italian society, which allows a fairly detailed exam if heterogeneity of Facebook users is considered (in terms of age, sex, level of education, social group). Precisely, the paper takes into consideration 155 comments published to the profiles of three important Italian public figures: Sergio Mattarella, Matteo Renzi and Roberto Saviano. Means of communication offered by Facebook facilitate production of everyday, colloquial language, which permits insight into natural and spontaneous realizations of social deixis. Their decoding helps to highlight the changes that affect the rules of politeness in today’s communication. The phenomena of growing informality or infringement of good manners are caused, or at least reinforced, by the arrival of new means of communication such as Facebook, but they simply illustrate a certain tendency, already present in contemporary Italian.Their decodification helps to highlight the changes that affect the rules of politeness in today’s communication. The phenomena of growing informality or infringement of good manners are caused, or at least reinforced, by the arrival of new means of communication such as Facebook, but they simply illustrate a certain tendency, already present in contemporary Italian.

El objetivo de este texto es analizar la importancia de los enfoques aportados por el ecologismo en el ámbito ideológico y en la práctica de oposición durante la transición española a partir del marco de estudio que ofrecen las comunas rurales. Para ello, se estudia la evolución de los imaginarios en torno a este modelo comunal, desplegados en dos revistas de referencia del contexto contracultural de finales de los años setenta, Ajoblanco y Alfalfa, así como en algunos libros publicados por activistas ecologistas de referencia a comienzos de los ochenta. A través de este enfoque, el artículo se interroga por la persistencia del compromiso con las cuestiones ecológicas en los grandes movimientos sociales de la España contemporánea desde el fin de la Dictadura en adelante, al tiempo que subraya la necesidad de explorar en profundidad episodios de la historia reciente que permitan enriquecer los relatos relacionados con la cultura visual y la memoria de los movimientos sociales en el Estado desde una perspectiva ecologista. The aim of this paper is to analyze the importance of the approaches contributed by ecologism in the ideological sphere and in the practice of opposition during the Spanish transition from the framework of study offered by rural communes. To this end, the evolution of the imaginaries surrounding this communal model, deployed in two magazines of reference in the countercultural context of the late seventies, Ajoblanco and Alfalfa, as well as in some books published by leading environmental activists in the early eighties, is studied. Through this approach, the article questions the persistence of the commitment to ecological issues in the great social movements of contemporary Spain from the end of the Dictatorship onwards, while stressing the need to explore in depth episodes of recent history that allow us to enrich the narratives related to visual culture and the memory of social movements in the State from an environmentalist perspective.

One of the key challenges for agriculture today is feeding an increasing population without contributing to climate change. Increasingly, digital agriculture is discussed as a new sociotechnical regime that could help limit emissions for farmers worldwide. While sustainability is an important issue, recent papers in the field of digital agriculture do not address the problem directly. After a literature review, this paper will focus on the importance of shared perspectives as enablers in socio-technical transitions. This paper argues that the myth of the digital sublime could act in favour of the existing and unsustainable model of agriculture. This is partly a result of hardware production and connectivity already being resource-intensive. Precisely because of this high environmental impact, the following discussion will employ the legacy of the Green Revolution to highlight the importance of precaution in deploying digital agriculture. In theory, in order to address the shortcomings of the current system, private sector companies are developing proprietary software solutions that could in practice entrench unsustainable business models. As an alternative, this paper suggests, existing open-source platforms that encourage not-for-profit collaborations between farmers should be scaled up. Through bottom-up processes, future researchers and developers should seek ways to place sustainability at the centre of their analyses, and encourage the adoption of practices that can be tailored to the diverse needs of farmers. Ultimately, stakeholders in digital agriculture should understand that sustainability principles must be encoded at all stages in the deployment of digital agriculture technologies.

This article explores different bodies of literature looking at the rising power of digital corporations. With this work I aim to provide a critical up-to-date approach to the topic. The first part of the paper introduces the phenomenon of digital capitalism, navigating different sociological approaches. Then, it proceeds by addressing the difficulties of naming the phenomenon and the attention that is gathering among politicians, academics and the general public. The second part of the work explores three different but complementary bodies of literature looking at tech power In the first place the paper explores critical management studies’ contributions describing the characteristics of digital corporations. Secondly, the text reflects critical legal scholars’ works analysing what has been identified as one of the essential features of digital capitalism: the infrastructural power enjoyed by corporations such as Facebook or Amazon. Finally the paper exposes two different Marxist perspectives looking at digital capitalism and its latest developments. The labour-focused Marxist contribution mainly represented by Christian Fuchs and Trebor Scholz and the postfordist approach of Maurizio Lazzarato or Matteo Pasquinelli, among others.

This paper shows that in the philosophy of Sánchez Vázquez the basis for creative praxis is not innovation but the activity of practical consciousness, to which that Marxist philosopher describes as dialectical unity of the subjective and the objective. Furthermore, the paper argues that, in the sense of such unity and mutatis mutandi, creation has a place in non-practical human activity.

This paper focuses on the process of empowerment of roma women. Considering the intersection of inequalities that they face, the article points out that an analytical turn of these processes is needed in order to approach them from an intersectional view. In this context, the introduction of this perspective in the consideration of the empowerment of roma women is seen as a necessary step in order to inspire and rethink the democratization in terms of recognition of this collective. The article tackles the following question then: what does intersectionality tell about the empowerment of roma women? With this objective, the text discusses the life’s testimonies of five roma women collected through in-depth interviews. Through the analysis of the tensions emerging during their processes of empowerment, the paper concludes with some proposals in order to overcome these obstacles.

Literature on the semiology of dance is scarce and not well integrated so far. A comprehensive review of the scholarly research would allow showing which themes are the most critical ones, and what is still needed to develop this research field. In this article we aim to fill this gap by conducting a bibliographic review of papers published in Web of Science (WoS), Scopus, Dialnet, ÍnDICEs-CSIC, EBSCO, and Google Scholar from 2000 to 2022. Our review shows that within the field of dance, previous studies have emphasized the coexistence of various dynamic elements whose main purpose is to shape the construction of the play and facilitate understanding in the dance communication process. We highlight the relevance of focusing on the spectator as constructor of meaning and participant of the symbolism of the act, and not only as a passive observer.

In 1971, Rockne Krebs presented an immersive artwork composed of the optical phenomenon of the camera obscura, among other elements. Although this artist appears to be the first interested in this phenomenon, it was only from the 1990s onwards that the artistic practice of camera obscura as room installation became widespread. In the decades since, several authors have included it in their production—developing projects of a photographic nature through different approaches, mainly focusing on projected image or spectator participation. Through the method of media archaeology, it is possible to find three lines of contemporary artistic research on the phenomenon: camera obscura related to meta-photography in Abelardo Morell’s works; immersive installation pieces as proposed by Zoe Leonard; and projections of other worlds in the work of the artistic duo João Maria Gusmão and Pedro Paiva. This paper aims at a comparative study that intends to analyze these three paths, underlining the characteristics of some contemporary artworks and contextualizing their elements to the history and use of camera obscura in the photographic context.

The paper discusses some preliminary results of the research project GRASS - Grammar Reflection at School: Syntactic Subject, which involved 444 junior and senior students from lower to higher education grades and 16 teachers. Starting from some general remarks on the current state of grammar teaching in the Italian school system, particularly critical as far as real speech, discourse and metalinguistic awareness are concerned, the paper highlights and discusses three main critical issues: a)the confusion between (con)textual reference and grammatical function, well attested by thediverse and incongruous ways used by the respondents to identify and represent the subject of sentences from a text; b) the pupils’ and students’ grammaticality judgements on verb and subject agreement, especially in cases of semantic/syntactic mismatch; c) the relation between the respondents’ explicit definitions of grammatical subject and the emerging underlying notions that characterize the different stages of Italian education as far as primary vs. secondary schools are concerned. Finally, some conclusions are drawn on the possible outcomes that this type of research can have in terms of teachers’ training and teaching practices.

This paper analyses the latest Spanish reforms regarding domestic work. The Spanish legislator, doubtlessly influenced by the ILO Domestic Work Convention nº 189 – which, however, was not later ratified in Spain- made a deep reform on domestic work in 2011. This legal reform implied a striking change that affected both working conditions and social security of employees in the family home. The aim of this reform has been to bring the regulation in domestic work closer to the general regulation for other workers, although maintaining certain specialties. Regarding working conditions, their setting as “particular employment relationship” has been held. However, the differences between this relationship and the common ones have been reduced. As for social security, domestic employees have been incorporated into the General Social Security System, but with important specialties, thus erasing the Special Domestic Employees System. The paper also examines the legal changes that have taken place in this field after the new Government arose.

Over the past ten years in Italy, Spain and France, the demographic pressure and the increasing women’s participation in labour market have fuelled the expansion of the private provision of domestic and care services. In order to ensure the difficult balance between affordability, quality and job creation, each countries’ response has been different. France has developed policies to sustain the demand side introducing instruments such as vouchers and fiscal schemes, since the mid of the 2000s. Massive public funding has contributed to foster a regular market of domestic and care services and France is often presented as a “best practices” of those policies aimed at encouraging a regular private sector. Conversely in Italy and Spain, the development of a private domestic and care market has been mostly uncontrolled and without a coherent institutional design: the osmosis between a large informal market and the regular private care sector has been ensured on the supply side by migrant workers’ regularizations or the introduction of new employment regulations . The analysis presented in this paper aims to describe the response of these different policies to the challenges imposed by the current economic crisis. In dealing with the retrenchment of public expenditure and the reduced households’ purchasing power, Italy, Spain and France are experiencing greater difficulties in ensuring a regular private sector of domestic and care services. In light of that, the paper analyses the recent economic conjuncture presenting some assumptions about the future risk of deeper inequalities rising along with the increase of the process of marketization of domestic and care services in all the countries under analysis.

This paper is a first-person narrative of a project entitled “La rara troupe” (The Strange Troupe), a space for creation and co-existence between a group of people both with and without diagnosed mental illness. This space has been taking shape since 2012 in the Educational Department of the MUSAC (Contemporary Art Museum of Castile and León). The paper combines first-person narration and film-based analysis through the audiovisuals created by the group. It is a self-reflective attempt at praxis, where artistic research methodologies, the pre-eminence of the affective over the discursive, and the politicisation of discomfort are the tools we have authorised for a necessary, open and changing investigation aimed at considering contemporary cultural practices centred on approaches to reality.

The present text is divided into two parts: a presentation and a paper. First, in italics, I present what could be called “Case Study: Zulueta’s Rapture” and propose some reflections on its meaning within the framework of current university practices surrounding knowledge. Next to take the stand is the paper itself, the object of the trial, whose author proposes a political reading of the film Rapture (Arrebato in the original Spanish) by Iván Zulueta. Lastly, some conclusions are offered. I will say no more; the text has a complex structure and is best judged by reading it.

This paper briefly describes the formation, present-day functioning and problems facing the futuristic city ‘Auroville’ in the state of Tamil Nadu in south India. Founded in 1968 as a ‘universal’ city, and planned to have 50,000 inhabitants that would take the next step in human evolution to exist as a self-sustaining community independent of nation states, Auroville manifests another utopian attempt to create a ‘common’ space which resonates with communist hopes to reclaim the commons from capitalist enclosure. This paper explores the problems that face Auroville when it creates its ‘commons’ on existing peasant land and becomes implicated in colonial politics.

In this paper we assess to what extent Oprah Winfrey’s speech during the Golden Globes 2018, situated in the new context of the #MeToo movement and the Time’s Up initiative, destabilizes the modes of recognition of gender violence, offering an example of the operationalization of the concept of ‘ethical witnessing’ in communication media brought about by celebrities. In order to do so we consider the connections she establishes between the fight for rights and other fights for recognition, redistribution and participation; the degree of transgression of the reified models of identification of the subjectvictim and the focus on the capacity of agency; and the type of relationship that develops between the subject who gives testimony and the witness. The paper concludes that Oprah’s intersectional approach to gender violence, her focus on agency and resistance (verging on heroism), her role as both witness of her own victimization and facilitator of others’ testimonies, and her activism and inspiration for others to engage socially and politically, comes close to transgressing the boundaries of the current mode of recognition and representation of gender violence. Nevertheless, the widely accepted image of Oprah as an authority assumes a hierarchical relation that contravenes an ethical dimension of witnessing. In addition, in line with a liberal position, Oprah reimagines the ‘good victim’ as an empowered individual who overcomes vulnerability, and she envisions the eradication of gender inequality as something that comes from the top down.

The aim of this paper is to explain the connection between discursive rules and moral norms in the frame of discourse ethics. The paper begins with an analysis of the difference between action and operation and with a reconstruction of the concept of discourse. After that, the difference and the relationship between law and obligation are presented. The conclusion is that the connection between action and possible discourse is implicit in the notion of moral responsibility.

The paper addresses the topic of decolonial pedagogies in the Global South analyzing Campus in Camps, an educational program founded in 2012 by Alessandro Petti and Sandi Hilal that activates critical communal learning within the Dheisheh refugee camp in Bethlehem, Palestine. The program reflects on refugee camps which are in a process of social and spatial transformation. The paper raises two main questions: how does the program of Campus in Camps decolonize methodologies of knowledge construction about the camp life? How does it activate processes of embodied pedagogy where knowledge is grounded in action and emerges as a group effort accommodating subjects born from the interaction among participants, tutors and the broader social context? The article will first focus on the problematic of conceivingthe camp as a site of history and knowledge. Secondly it will dig into the pedagogical strategies, research methodologies and participatory design methods enacted in order to “decolonize knowledge” through exercises of collective un-learning.

Due to the high demand for journalists that understand technology and embrace it as an important skillset in recent years, journalism schools have been adapting their curriculum to include those abilities in their classrooms. In this paper, we offer a case study of one such approach at PUCRS University in Brasil: from 2011 we have been challenging the students to make a journalistic app with Android AppInventor platform in the classroom. This paper addresses this experience and its perception of journalism and media students of PUCRS in Brazil.

This paper presents the technology of the metallic threads used in the textiles of the Middle Ages trough the study of an embroidery fragment preserved in the Museo Nacional de Artes Decorativas. The origin and the development of the metallic threads technology are explained, including the different metals and alloys used. The paper also studies the questions related with the provenance and workshop of the embroidery as an example of the diversity of decorative sources and workshops active in the 12th-13th centuries in the Western Mediterranean area.

The Royal Decree-Law 16/2012 for sanitary regulation, led to the elimination of certain benefits for people not registered in the Spanish National Security Social System. Thus, this means the end of the universal and free health care for all citizens who live in Spain. This recent regulation creates an unequal access to a recognized basic human right. This paper aims to provide an assessment of the impact of the elimination of such health care rights for immigrant people, specifically by exploring their implications for immigrant women, and the consequences of the implementation of the Royal Decree-Law on violence against women and on sexual and sexual and reproductive rights. In addition, this paper also seeks to collect the efforts of organizations who work in defense and for the vindication of the universality of the health in Spain. This paper will address, particularly, the case of Catalonia.

This paper analyzes the institutional and professional reorganization of Diagonales Journal’s newsroom, La Plata, Buenos Aires, Argentina, in its digitization context since December 2011. Based on deep interviews done to employees and former employees, this paper retrieves the professional experience of Cyber Journalism as part of emerging work routines. At the same time this article aims to approach the personal consequences that these processes have caused to the professionals involved. In this context, we recover some factors that, according to the interviews, have been identified as newsroom's routine stressors during the transition to digital edition.

With the advent of artificial intelligence (AI), 'AI art' was born, and the concept of 'AI aesthetics' was derived. Despite the emergence of this new concept in art theory, the question of whether artworks created by AI have artistic and aesthetic value still needs to be debated in academia. While new concepts related to AI art are emerging, the discussion of whether a sustainable and critical theory system can be constructed in the field of computers and art, which is most closely related to it, ought to be focused on AI itself to explore whether it possesses similar characteristics of creativity and emotion as traditional art creation processes. This paper will first analyze the origins and possibilities of AI art and then explore the enormous impact of the rise of AI art on current and future human society in 4 dimensions: creativity, motivation, self-awareness, and emotion.

This paper considers and distinguishes two objections which ordinarily are thought to oppose a realistic conception of ethics: G. E. Moore’s naturalistic fallacy and Hume’s law. After having presented both objections, having developed their presuppositions and consequences and having answered each of them, the paper concludes that it is possible to hold today a realistic conception of ethics. It is structured in the style of a disputed question, divided in six articles.

This paper discusses some aspects of the ontological problem of bioartifacts in order to develop, within the vocabulary of philosophy of technical artifacts, a deflationed notion of bioartifact capable of revealing a meaningful distinction between those processes arisen from a natural dynamics not intentionally intervened, and those arisen from intentional intervention. With this purpose two ways of interpreting the nature of these entities (intentionalism and reproductivism) are reconstructed and evaluated. Finally this paper collects the previous arguments and tries to make explicit the levels of intentional intervention and the conditions to be a bioartifact.

This paper examines imaginaries of work and labor in “open technology” projects (especially open source software and hackerspaces), based on ethnographic research in North America. It zeroes in on “diversity initiatives” within open technology projects. These initiatives are important because they expose many of the assumptions and tensions that surround participatory cultures. On the one hand, these projects and spaces are organized around voluntarism; in theory, everyone who wishes to participate is welcome to do so. On the other hand, diversity initiatives form in order to address the “problem” of imbalance in the ranks of participants. Technology is a unique domain for the discharge of political energies. In collective imagination, it has been vested with the power to initiate change (even as this belief obscures the role of social and economic relations). Multiple ideas circulate about the relationships between diversity in open technology projects and paid labor. This paper argues that in part due to the legacy of technical hobbies as training grounds for technical employment for much of the twentieth century, as documented by historians of radio (Douglas, 1987; Haring, 2006), voluntaristic technology projects are vexed sites for imagining political emancipation. To a large degree, diversity initiatives in open technology projects are consistent with corporate values of diversity as a marketplace value. At the same time, collectivity formations around technology that incorporate feminist, antiracist, or social justice framings may begin to generate connections between diversity advocacy in tech fields and social justice movements or policy changes in order to effect deep social change.

The content of this paper pretends to show a changing reality: The way of displaying art. Currently, the curating of art, one of the more traditional, academic, and very little sensitive to change, is opening the door to the media and museum resources of didactic and interactive. The research on which this paper is based, aims to show how behind all this is a new way to bring art to a museum visitor. However, the early state of this research, simply presents the kinds of interactive resources that can be found in museums of art, using as a spatial frame the Anglo-Saxon and Spanish context of the last five years.

Este artículo propone una arqueología visual de la subjetividad rider como producto del capitalismo de plataformas y la silicolonización. Se realiza un análisis descriptivo de dicha subjetividad a partir de cinco pares de imágenes dialécticas —puestas en diálogo—, dividiendo el artículo en cinco partes: se comienza con la descripción del contexto que posibilita dicha subjetividad; seguidamente, se exponen algunos de los rasgos más señalados de su problemática para acabar planteando imágenes y enunciados que remiten a otros escenarios futuros desde los que enmarcar la subjetividad rider contemporánea. This paper proposes a visual archeology of the rider —delivery platform worker—, a subjectivity produced by platform capitalism and silicolonization. A descriptive analysis of this subjectivity is carried out throughout five pairs of dialectical images —set in dialogue—, dividing the article into five parts: it begins with the description of the context that makes rider subjectivity possible; next, some of the most remarkable features of their problems are exposed, followed by images and statements that refer to other future scenarios from which to frame the contemporary rider subjectivity.