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Los estudios artísticos, como lo hemos dicho de muchas maneras y en diversos lugares, son un espacio fronterizo y relacional en donde es posible la creación de conocimientos sensibles otros. Conocimientos que nos permitan comprender el mundo y el vivir, en la búsqueda de las condiciones de posibilidad para la reproducción no-colonial de la vida, por fuera de los marcos de la modernidad colonialidad

IIn his groundbreaking work, Abstraction and Empathy, Wilhelm Worringer delved into the intri-cacies of various abstract and figurative artworks, contending that they evoke distinct impulses in the human audience—specifically, the urges towards abstraction and empathy. This article asserts the presence of empirical evidence supporting the extension of Worringer’s concepts beyond the realm of art appreciation to the domain of art-mak-ing. Consequently, it posits that abstraction and empathy serve as foundational principles guiding the production of both abstract and figurative art. This holds particular significance in the 21st century, where artificial intelligence (AI) assumes a creative role that was absent during Worringer’s initial formulation of his theory. Thus, this paper postulates that AI inherently harbors a predisposi-tion for the generation of abstract art, owing to its non-living and inorganic origins and functioning

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.

Resumen El presente artículo es una aproximación a los primeros resultados de investigación de una tesis doctoral enfocada en la reconstrucción teórica de autores de la psicología argentina que han contribuido al estudio del proceso creativo en el período de 1965-1995, desde una relectura de las Epistemologías del Sur. En esta primera aproximación, se indaga en la perspectiva teórica del psiquiatra, psicoanalista y psicólogo social, Enrique Pichon-Rivière, con el fin de arribar a conclusiones en torno a la construcción teórica que el mismo realiza alrededor del concepto de proceso creador. A través de la metodología de revisión bibliográfica de un estudio teórico clásico y del análisis crítico de las Epistemologías del Sur, se elaboran las principales formulaciones del autor al respecto del objeto de estudio, poniéndolo en contraste con la construcción teórica alrededor del mismo concepto en la misma época y en diferentes países, comprendiendo que fue construido como un objeto imposible y ausente en la comunidad científica de los saberes psi. La amplia producción en torno al concepto que Pichon-Rivière realizó, en contraste con la invisibilización que tal profundización generó, abre reflexivas discusiones sobre el amplio trabajo y originalidad del autor, el lugar del arte en la ciencia, y el lugar de los autores latinoamericanos en el mundo durante la modernidad y la actualidad. Abstract This article is an approach to the first research results of a doctoral thesis focused on the theoretical reconstruction of Argentine psychology authors who have contributed to the study of the creative process in the period of 1965-1995, based on a rereading of the Epistemologies of the South. In this first approximation, the theoretical perspective of the psychiatrist, psychoanalyst and social psychologist, Enrique Pichon-Rivière is investigated, in order to reach conclusions about the theoretical construction that he proposed around the concept of creative process. Using the methodology of bibliographic review of a classical theoretical study and critical analysis of the Epistemologies of the South, the author's main formulations regarding the object of study are elaborated, contrasting it with the theoretical construction around the same concept in the same time and in different countries, understanding that it was built as an impossible object and absent in the scientific community of psy knowledges. The production around the concept that Pichon-Rivière proposed, in contrast to the invisibility that such deepening generated, ignites thoughtful discussions about the extensive work and originality of the author, the place of art in science, and the place of Latin American authors in during the modernity and today’s world.

This research article gives an account of the processes of cultural identity formation and aesthetic representation in Barbacoas, a sector in the center of Medellín (Colombia). This space is characterized by the convergence of forms of exclusion that generate adverse conditions for its inhabitants such as sexual, economic, political and social segregation. An analysis of the conditions of aesthetic expression is carried out, for which the autoethnographic method is used based on the participant observation technique. Collaborative artistic exercises are also carried out in context with the various actors who are part of Barbacoas. As a result, detailed characterizations of identity formation and aesthetic expression are obtained that allow inhabitants not only to survive and survive, but also to create social groups. Despite being on the margins of the implementation of public policies, these groups enable their members to build heterogeneous cultural representations and symbolic systems that are meaningful to themselves.

Al llibre ¿Què ens fa humans? (2022), Salvador Macip explora la pregunta del títol a través d’un diàleg fructífer entre la ciència i la filosofia. Ara bé, Macip diu que no està interessat en tota la filosofia, sinó només en «la part de la filosofia que ha aplicat el mètode científic » (p. 159). A quina part de la filosofia fa referència exactament? Repassarem les idees principals del llibre de Macip fent especial esment dels filòsofs que es mencionen. Així, podrem tenir una idea més precisa de quina mena de filosofia és la que interessa a Macip. També revisarem breument les referències artístiques incloses al llibre de Macip, ja que el mateix autor afirma que «ciència i art no s’haurien de veure com dues entitats separades (i gairebé antagòniques) […], sinó com components del mateix concepte, el de la cultura humana» (p. 35).

This study attempts to identify the theme of light in the imagery of ancient Greco-Roman and Christian art through a comparative analysis of the context and evolution of artistic language before and after the Christianization of the Roman Empire. An essential criterion in understanding the new aesthetic paradigm and highlighting the means of artistic expression characteristic to the two periods temporally delimited by the event of the Incarnation, is the way in which artistic consciousness relates to divinity. The acceptance or not of the Revelation, the reflection in religious art of the fact that God became Man and He has a Face, as opposed to other philosophical quests and religious systems that dress up the idea of divinity and its attributes in the face of the gods, personifying it or imagining it symbolically, – makes the difference. God communicates Himself to man through light, light being the common denominator of any epistemology, without placing in competition or in opposition the knowledge that comes to us through Revelation with that acquired by man through scientific experiments. Paradox is a mark of light. Science has proven it with the wave-particle dualism of quantum mechanics and theology fully confirms it. Light is a Person who says of Himself that He is: ‘The Light of the World’. (John 8, 12). The theme of light has multiple meanings in biblical exegesis; from the metaphorical image that runs through the Book of Revelation to that of the incorporated Light (Lux incorporata), an interpretation that refers to the Mystery of the Incarnation, to the world transfigured by grace, to the uncreated light communicated to people by the heavenly hierarchies through the Church in the form of the Holy Mysteries. In the world of late Roman antiquity, and later in the Byzantine world, there was a belief that the veining or luminous veins of colored marble, gemstones or translucent stones were embedded rays of light, an intervention of divine light in the rock. The uniqueness of these ‘graphic accidents’ was interpreted as signs of God in the creation that suggests the unseen, the unusual, the ineffable, in short, the paradox of the Christian world summed up in this confession: that God is both One and Three, that Christ is both Man and God, and that Mary is both the Mother of God and the Virgin. The art of mosaics and stained glass, as well as the entire decorative complex of precious stones, gems and polychrome marbles adorning objects of worship and liturgical furnishings, is built on a long tradition that aesthetically and theologically values the motif of light. Dogmatic notions such as hypostatic union and perichoresis are symbolically translated into visually striking plastic expressions – provided by the natural textures of the cut and polished rocks – with the sole purpose of suggesting the dogmatic ‘contradictions’ of the Kingdom of Light which, as they say, ‘already exists, but not yet’.

The scope of this theoretical study is centred on the analysis of artistic practices developed during travel, focusing on the construction of the relationship between art and travel from the 16th century to the present. In order to do this, a historical perspective focuses on the journey to Italy, the obligatory destination for travellers in the modern era. From the nineteenth century onwards, contemporary artists sought to observe how travel became an artistic discourse. The term 'artourist' is introduced as a description of the artist who is a traveller and a developer of artistic projects. The research followed the methodology of virtual curatorship, which subjectivises and expands a reflective body of works of art and tourism. This article promotes the argument that tourism, despite the veiled pejorative connotation of academic profiles of the visual arts, can be an essential mechanism for artistic creation and imagination. In defence of free-thinking, this article presents an expanded reflection, pointing to theories and cases that reveal the contributions of the relationship between art and tourism as two complex systems through its protagonist: the travelling artist.

Nous essayons de définir l’horizon de la pensée de Jean Starobinski en rendant compte de manière commentée des deux langages de la modernité. Jean Starobinski entre littérature et science, par Aldo Trucchio publié par BHMS en 2021. C’est un essai qui tente d’identifier la pensée de Starobinski, qui se base sur l’histoire du chevauchement entre le langage médical et la question littéraire et philosophique à travers les âges et sur la tentative de revaloriser certaines formes d’expression telles que la littérature, façonne d’autres facettes de l’art. Son approche est « sage » et s’affranchit de toute méthode réductionniste.

The thematic development, which is framed in the next lines of this article, focuses on the horizon of the harmful vision that the Jew had in the socio-cultural context of the Late Middle Ages, where this collective was to be persecuted and/or discriminated against because of the false Christian pretext for accusing the People of Israel as guilty of the death of Christ. Thus supposing the appearance of that pejorative image of the Hebrew as a harmful entity, both for the society of the time and for Christianity. Therefore, the low-medieval iconographic tradition is attended, where through preconceived stereotypes born of that “Jewish question”, a series of physiological, cultural and religious traits are outlined which are reflected again and again in this traditional iconographic line.

Everyday aesthetics, at its core, is based on the supposed dichotomy between art and life, considering life as something routine-like, and art as the breaking of the routine, something charismatic. Different authors of everyday aesthetics use different words to describe this dichotomy. For example, in his article “What is ‘Everyday’ in Everyday Aesthetics?”, Ossi Naukkarinen simply uses everydayness and non-everyday-like, while Arto Haapala, in his “On the Aesthetics of the Everyday: Familiarity, Strangeness, and the Meaning of Place” uses the terms familiarity and strangeness. The authors also propose different ways of bridging this dichotomy. However, as the paper shows, the real question is not how to bridge the dichotomy itself but rather whether the dichotomy exists in the first place. Moreover, the paper suggests a change of direction in future investigations of everyday aesthetics, and focusing on the nuances that exist on the routine-charisma and charismatic-routine spectrum, supported by academic research and the personal account of the paper’s author art project. Moreover, the implications of this shift extend beyond the boundaries of everyday aesthetics.

Dans cet entretien, Eugénie Péron-Douté évoque le parcours remarquable de l’artiste iranien Omid Dashti, installé à Bruxelles, qui se dit « réfugié » plutôt qu’exilé, évitant ainsi toute stigmatisation liée à la migration.

ABSTRACT: The objective of this article is to question all the artistic representations of the Harraga phenomenon through the issue of otherness, a phenomenon that is accompanied by representations and discourses accentuating the sense of commitment of gratitude towards these young victims of drifting societies and highlighting the magnitude of the subject. Besides these aspects, the desire for exodus can be read from a double anthropological and psychological perspective: if the young Harraga flees his country for a better future, if the refugee aspires to peace by moving, the artist expresses his exodus by leaving the real world for the virtual in search of truths and possible meanings through indirect and rhetorical means, romantic, allegorical and pictorial dimensions that incite reflection. RÉSUMÉ : L’objectif de cet article est celui d’interroger l’ensemble des représentations artistiques du phénomène des Harraga au travers de la problématique de l’altérité, phénomène qui s’accompagne de représentations et de discours accentuant le sens de l’engagement faisant œuvre de reconnaissance envers ces jeunes victimes de sociétés en dérive et mettant en exergue l’ampleur du sujet. Outres ces aspects, le désir de l’exode se lit selon une double perspective anthropologique et psychologique: si le jeune Harraga fuit son pays pour un avenir meilleur, si le réfugié aspire à la paix en se déplaçant, l’artiste exprime son exode en quittant le monde réel pour le virtuel à la recherche de vérités et de sens possibles par des moyens indirects et rhétoriques, des dimensions romanesques, allégoriques et imagées qui incitent à la réflexion.

This article investigates how DeLillo depicts the impact of 9/11 in Cosmopolis and Falling Man through the antagonistic (intratextual) and oppositional (intertextual) connections between their characters, and then proves the importance of counter-narrative as a means to survive the encounter with communal and private tragedies. To this end, the articles provides a complementary analysis of DeLillo’s characterizations and stylistic choices in Cosmopolis and Falling Man, reading the novels through the lens of DeLillo’s essay “In the Ruins of the Future” (2001), Jean Baudrillard’s Simulacra and Simulation (1981) and “The Spirit of Terrorism” (2002), Jacques Derrida’s Writing and Difference (1967), Slavoj Žižek’s Welcome to the Desert of the Real (2002), and Søren Kierkegaard’s Either/Or (1843). While the two novels offer a Postmodern sublimation of the defining features and challenges of the post-9/11 lost sense of reality, I argue that Kierkegaard’s Modern philosophy is the key to a comprehensive reading of them, as it offers the theoretical ground for a metaphorical leap of faith that grants access to “a higher realm” of acceptance, overcoming the feeling of bewilderment and alienation in the aftermath of the late modern age.

This article discusses the third instalment of Ali Smith’s Seasonal Quartet, a work whose complex multi-voiced narrative addresses various important issues including the role of art in the contemporary world. The authors of the article employ two theoretical frameworks, Bakhtin’s theory of dialogism and Vermeulen and van den Akker’s studies on metamodernism, to argue that Smith adopts a dialogical approach to the theme of art. With the help of close reading the authors map the dialogical clashes between the main voices and the semantic positions which are taken in order to demonstrate that the central dialogue presented within the novel is that between postmodern and metamodern sensibilities. Special attention is paid to the character Richard who represents the clear replacement of the postmodern sensibility with a metamodern approach through his semantic position, as is informed by his search for universality in art, his neo-romantic turn to the appreciation of the beauty of nature and his rejection of the postmodern trends that produce superficial and inauthentic forms of art.

Graphic representation in architecture has been drastically transformed with the arrival of new technologies. In this changing contemporary context, freehand drawing’s role and objectives are being reconsidered as an aesthetic goal and as a pedagogical process. The way we transform our urban spaces is also evolving, with increasingly participatory approaches that include diverse perspectives. In search of alternative, innovative learning methods, this article shows the results of Urban Notes, an elective community activity in which students, associations and neighbourhoods exchange ideas about the place through urban drawing. First, a theoretical background is proposed that supports Urban Notes use as a participatory urban exploration tool, and then recent experiments are described. The results reveal a new form of transdisciplinary learning for schools of architecture and urbanism.

The article contains the analysis of Charles Maurras’s and Étienne Gilson’s reflections on beauty in the light of the antique reflections on this ground which are present in the philosophical thought of the French thinkers either directly or through thinkers who inspired them. The article also analyzed the question of art from the point of view of reflections on beauty that they both made. This made it possible to show both the similar points and distinctions between them in light of classical tradition in its reflection on beauty, especially from the metaphysical point of view, which shows that both Gilson’s and Maurras’s reflections on beauty grew on classical grounds. It explains why the thought of Maurras and Gilson in this area is important also from the perspective of contemporary discussions.

Three paintings by Caspar David Friedrich suggest different behaviors of the human being in space, which are generated from the relationship between an observer and the observed object. This relationship is mediated by a device that influences the different raised behaviors or aesthetic categories. These attitudes and feelings of the characters that inhabit the three paintings are associated with each of their specific environments, whose characteristics favor such reactions. Along with these situations, some architectural works that could be the scenario of the same circumstances posed by Friedrich in his paintings are proposed and briefly described, without considering this parallelism as a complete or strictly biunivocal universe. These works that favor certain ways of perceiving and reacting to what is perceived are here called machines to watch.

Artistic education is an important factor in the cultural growth of the nation – the development of personal qualities and abilities. The methodology of teaching music pedagogy is related to the category of musical style. The relevance of this study is conditioned by a broad interpretation of the concept of musical style. Numerous musicological interpretations of the concept outline the range of issues and a growing interest among scholars in the search for promising approaches to understanding musical phenomena and the integration of scientific knowledge. The purpose of the study is to investigate musicological solutions to the problem of style, to identify optimal approaches to building the educational process. The paper analyses various interpretations of the concept of "style" by musicologists. Methods and approaches of teaching musical and practical disciplines are highlighted, including the method of stylistic generalisation, experimental methodology, historical and stylistic approach, concentric approach, genre approach, and the principle of generalisation. As a result of the study, it was concluded that the educational process in the classes of musical and practical training should be built according to genre and stylistic principle – semantic generalisations of the genre in the context of multi-level style features. This paper can be useful for teachers in music education institutions to implement an effective approach to organising the educational process.

In the field of AI, troublesome machine behaviour is a recurring problem, and is particularly worrying when the governance of populations is externalised to machines. This article will focus on machine vision and explore whether hacking as a concept, a method and an ethic, as it has been appropriated by artists, makers and designers, offers ways for citizens to resist surveillant vision. By combining distant and close readings of art hacks in the ‘Database of Machine Vision in Art, Games and Narratives’ this article demonstrates a shift in resisting machine vision from hacking sensorial devices to tricking intellectual seeing. I call it the ‘intuition machine shift’ and argue that emergent with this shift is an art hacking strategy which specifically challenges biased machine vision. Drawing from critical making, tactical media and feminist theorisation of hacking, and adopting Mareille Kaufmann’s understanding of hacking as a form of disputing surveillance, this article outlines three artistic approaches to hacking machine vision: hacking surveillance cameras, tricking AI and disputing biases. The conceptual contribution of disputing biases is developed further to offer new nuanced understandings of risks and potentials of art hacks to resist biased machine vision.

Selon l’étymologie du terme « innovation », le préfixe latin in renvoie à un mouvement immanent, né de l’intérieur, à partir duquel le renouvellement se crée. Dans notre article, nous ferons référence à cette dynamique de « souffle-énergie » (Jullien, 2003) pour étudier la question de designer l’innovation territoriale. L’éphémère, temporalité propre au vivant, tend à se démocratiser et à imprégner l’art in situ dans ses formes les plus diverses. Nous pensons particulièrement aux artistes tels que Thierry Boutonnier, Liliana Motta, Boris Nordmann ou encore Liliana Sánchez, qui créent au contact des habitants, dans un processus d’échange, de médiation et d’ajustement au lieu en tant que territoire. Avec une approche écosémiotique, nous emprunterons la terminologie de Nicole Pignier sur le design pour définir l’émergence des liens qui se tissent entre l’artiste contemporain et le territoire : avec, ou, à rebours de ce dernier (Pignier, 2017). Contre l’aliénation du territoire, l’énonciation artistique innovante se doit de refuser toute programmation arbitraire, pour laisser s’exprimer concrètement les spécificités culturelles (Pignier, 2017). Par sa dimension éco-techno-symbolique, et dans une démarche de recosmisation de la terre (Berque, 2014), l’acte de création offre donc la possibilité de ménager le territoire (Berque, 2001) et d’y ancrer pleinement les multiples esthésies et esthèsis. L’innovation territoriale, telle que nous l’entendons chez les artistes de notre corpus, s’inscrit ainsi dans un travail coénonciatif qui permet de faire territoire et de le dire, tout en témoignant d’un élan synesthésique de savoir-faire et de partage.

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.

This paper conducts a speculative examination of how AI image synthesisers, which generate novel imagery in response to inputted textual prompts — such as DALL-E, Midjourney, and Stable Diffusion — can be employed reflexively to investigate cultural representations of machine vision technologies. Such work can be framed methodologically as a form of ‘critical image synthesis’: the prompting of imagery that variously interrogates and makes visible the structural biases and cultural imperatives encoded within their originating architectures. In framing AI image synthesisers as an inverted form of machine vision — as generating, rather than classifying imagery through text — an opportunity is afforded to consider how they reflexively characterise themselves within their own latent spaces of representational possibility. Specifically, what kinds of imagery do these systems yield in response to prompts centring on keywords associated with machine vision technologies? And what does this reveal concerning how machine vision is represented and characterised across wider culture? This paper will empirically analyse a selection of prompted outputs from Stable Diffusion V2, treating them as a speculative mapping of contemporary visual themes and imaginaries surrounding machine vision technologies. This paper will then conclude by placing these outputs into dialogue with the author’s own creative practices involving machine vision, generating new image-text combinations that aim to provoke speculative analyses along alternative critical vectors.

The idea of disobedient machines is developed from the perspective of the historical and current developments in artificial intelligence (AI). Disobedience is often used in arts and technology as both a theme and a tool. Beyond that, misbehaviour is presented as one of the skills that is indispensable for natural intelligence. The article doesn’t delve into the use of AIs as an assistive tool for creation. Instead, it speculates if AIs will afford the emergence of an independent, autonomous artificial creator. Different approaches to AIs are presented, from symbolism to emergism. The affordances of machine learning models are described, as well as their limitations like the incapacity to generate breakthroughs outside of their training data, their determinism, and the inability to use analogies to solve unseen problems. Other missing human (or biological) skills present in art are emotion, goal-less production, and agency, which is a problem even when human volition is studied. The limits of computational formalism are like the limits in mathematical reasoning – it always requires some external rules, or axioms demonstrated, like Gödel’s proof. Hofsdtader’s theory of consciousness proposes a way to conciliate the fact that human creativity is also based on closed, fixed biological rules. Finally, it is argued that a machine cannot be creative unless it is also able to misbehave. However, computers must follow a set of instructions or they stop functioning – that is the definition of a Turing machine. Hence, we must face the paradox of wanting well-behaved systems, with the limitations of symbolic machines, while at the same time demanding more autonomous, creative outputs. It is paramount to explore algorithmic misbehaviours that could circumvent this paradox for further development of AIs for the arts and society in general.

Over the last three decades, the rise of new conceptualizations around the human body in connection with technology and machines has led to the development of new art practices in parallel with technological advances in the fields of biology, medicine and computing. This paper examines the human body in art contexts where biotechnology plays a relevant role in the generation of new conceptualizations around the human body topic. Thus, re-contextualized in social and cultural spheres and technical terms, the body will become redesigned, revamped, or augmented through the use of technological advances ranging from plastic surgery to robotic prosthetics. The human body is our vehicle of direct interaction with the environment. Its modification, alteration or expansion implies a redefinition of the existing limits between our corporality and the environment itself. Not only in the physical sense, but metaphysical and social. Hence, the introduced artists and strategies blur these limits and establish new relations through the body as a physical and social entity. In the search of new boundaries far beyond socio-cultural and natural limitations, they will reach new social, perceptual and conceptual statuses, far beyond aesthetic practices, focusing on the generation of political and social debates.

En este artículo se analiza la visión que el alumnado de la especialidad de Artes plásticas y visuales del Máster de Formación del Profesorado de ESO, Bachillerato, FP y Enseñanza de Idiomas de la Universidad Complutense de Madrid tienen sobre los conceptos de diseño, arte y artesanía. Desde el curso 2014/2015 se les pide que realicen un pictograma que represente cada uno de estos conceptos, dejando de manifiesto su visión de los mismos o la visión que creen que la sociedad tiene de estos. Además de poder analizar las posibles dificultades que el alumnado tiene para realizar un pictograma, este ejercicio sirve para profundizar en el modo en el que perciben el diseño, el arte y la artesanía, lo que tiene especial relevancia al tratarse de futuros docentes de esta área de conocimiento. Estos pictogramas se analizan a partir de las premisas dadas a cerca de las características que debe cumplir un buen pictograma y, además, en busca de los ámbitos de cada disciplina y los objetos más representados en cada uno de los conceptos, siendo estos los ordenadores para el diseño, las paletas y los pinceles para el arte y los jarrones para la artesanía. Como conclusiones, además de las relacionadas con la representación de los conceptos, se expone el buen funcionamiento de la actividad para introducir en el diseño de pictogramas. Abstract This article analyzes the vision that the students of the Plastic and Visual Arts specialty of the master’s degree in Teacher Training for ESO, Baccalaureate, FP and Language Teaching at the Complutense University of Madrid have about the concepts of design, art and crafts. Since the 2014/2015 academic year, they are asked to make a pictogram that represents each of these concepts, revealing their vision of them or the vision they believe society has of them. In addition to being able to analyze the possible difficulties that students have in making a pictogram, this exercise serves to deepen the way in which they perceive design, art and crafts, which is especially relevant when dealing with future teachers in this area of knowledge.These pictograms are analyzed from the premises given about the characteristics that a good pictogram must meet and, in addition, in search of the areas of each discipline and the most represented objects in each of the concepts, these being the computers for design, palettes and brushes for art and vases for crafts. As conclusions, in addition to those related to the representation of concepts, the good functioning of the activity to introduce in the design of pictograms is exposed.

There are many questions about the behavior of coronavirus disease 2019 (COVID-19) in people living with human Immunodeficiency virus (PLHIV). It is not clear whether they have a higher risk of complications or higher mortality than the general population. The risk of infection of Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2), risk of severe symptoms by COVID-19, and risk of mortality by COVID-19 of PLHIV were compared with people without human im-munodeficiency virus (HIV). EMBASE, PubMed, Scopus, Cochrane Library, Web of Science, LILACS and SCIELO were searched from January 2020 to March 2021. 22 cohort / case-control studies were chosen. Software Review Manager 5.4 was used for the meta-analysis. An increased risk of mortality (2.07) due to COVID-19 was identified among people with human immudeficiency virus (HIV) compared to people without HIV. HIV infection is a risk factor for COVID-19; it should be given special to patients with high viral load, low count CD4 and who are not currently receiving antiviral therapy (ART).

Cet article vise à faire le point sur la notion d’expression et notamment sur l’élément matériel qui la caractérise a minima. Après avoir examiné la relation entre matière et forme et entre image et schématisme, nous prendrons en considération la substance visuelle telle qu’elle est mise à disposition dans les bases de données qui permettent non seulement l’analyse des collections d’images, notamment artistiques, mais aussi la production de nouvelles œuvres via des plateformes de génération d’images telles que Midjourney et Stable Diffusion.

This article outlines how, with the introduction of electrographic processes, engravers have broadened their way of thinking and producing their art in relation to the concept of expanded graphic. After delimiting the term electrography and describing its historical development, the text exposes how hybrid practices have expanded the margins of graphics in a post-digital world. They have opened the way to different lines of action that have been popularizing some terms – mainly, in Spanish –, such as intangible matrix, digital print or digital printing. In this way, we will be able to observe the expansion of these languages, their theorization and their implementation through several artworks that will show the discursive possibilities of graphics, from this extended hybridization to other fields, helping to describe different ways of understanding the creative processes of contemporary electrographic art.

The subjects discussed in the article are the curious use of the term creativity by neoliberalism, how this has had an effect on educational policies in recent years, and how this effect can be counteracted by suggesting an option in a critical educational model. We characterize the concept of creativity applying a multidisciplinary approach with an analytical foundation that diverges with the perceptions coined by the business speech in the latest decades. Because of this disparity, we question the manner in which pedagogy ought to use creativity for the best development of students’ critical capacity, which allows them to criticize the strategies and the objectives of their learning process, as well as willingly animate their subjectivity and foment their critical thought. In relation to the methodology, for all the phases of this documentary research project, we have worked with a bibliographical review of sources which, due to their concrete theme and academic impact, are more relevant for the idea and purposes.

The Animated Film Adapted in Kabylian: Thematic and Imaginary “The Case of Li Mučuču 4” ABSTRACT: In this article, we will talk about the last animated film adapted in Kabyle in 2016 by Samir Aït Belkacem. This film, entitled "Li Mučuču 4: Dadda bibi" is dedicated to the memory of the late singer Matoub Lounès. It deals with a main theme "identity", developed in various forms that illustrate the Kabyle imaginary. To account for the imaginary, especially the collective imaginary, the adaptor has integrated genres such as: proverbs, songs, images... There are also some secondary themes that aim to inculcate universal values like: friendship, union, forgiveness, love…We use Gilbert Durand’s globalizing theory of the imaginary to explain the different symbols and figures that represent this imaginary integrated into this film. RESUME: Dans cet article, nous allons parler du dernier film d’animation adapté en kabyle en 2016 par Samir Aït Belkacem. Ce film, intitulé « Li Mučuču 4 : Dadda bibi » est dédié à la mémoire du regretté chanteur Matoub Lounès. Il traite un thème principal « l’identité », développé sous diverses formes qui illustrent l’imaginaire kabyle. Pour rendre compte de l’imaginaire notamment de l’imaginaire collectif, l’adaptateur a intégré des genres comme : les proverbes, les chansons, les images… On note également quelques thèmes secondaires qui ont pour objectif d’inculquer les valeurs universelles comme : l’amitié, l’union, le pardon, l’amour…Nous avons utilisé la théorie globalisante de Gilbert Durand pour expliquer les différents symboles et figures qui représentent cet imaginaire intégré dans ce film.

De tout temps, la beauté s’enracine et se dessine autour de représentations en vertu du précepte selon lequel : « l’homme cherche un élixir de la jeunesse, qui lui garantirait une vie sans fin et en bonne santé » (Cernat et Birman, 2018 : 129). Alors que l’espérance de vie est sans précédent, le marketing semble être un clin d’œil d’une nouvelle beauté normée du vieillissement en décalage avec la réalité sociale contemporaine. C’est dans un genre littéraire authentique, à partir de l’histoire de l’auteure qu’elle va tenter d’identifier des éléments saillants de ses expériences pour répondre à la question : comment devient-on modèle vivant ? Ses autres facettes vont l’amener à établir des correspondances avec des concepts majoritairement sociologiques mais aussi en marketing en vue de tirer des enseignements pragmatiques quant à sa marque « porteuse de sens ». Cette communication a pour objectif de discuter autour de la thématique du « modèle vivant » avec des signifiants qui oscillent entre : la beauté, le stigmate et les corporalités, de la jeunesse au vieillissement.

Los Estudios Artísticos son un proyecto transdisciplinar que surge en el campo de las artes, sin quedar circunscrito a ellas. Su propósito general consiste en la construcción de un campo geográfica y epistémicamente localizado para la creación de conocimientos y prácticas que hagan posible comprender e intervenir en las realidades sociales, artísticas y culturales. Este espacio fronterizo de encuentro, espacio relacional y diferencial, es propicio para el diálogo y la colaboración entre las artes, las culturas, los saberes académico y no académicos, de cuyos intercambios, otros conocimientos y saberes son posibles, más allá de los saberes académicos y disciplinares.

A partir de un hecho extremo de violencia contra una mujer ocurrido en nuestro país [Argentina], reflexionaré desde la propuesta que introdujo una intervención artística, intentando poner en dialogo el aporte que ofrece el arte, que puede transformarse en un aliado a la hora no solo de revelar lo que ocurre con las mujeres violentadas, sino también contribuir a generar nuevas conciencias y modificar realidades, constituyendo una herramienta de denuncia social. From an extreme event of violence against a woman that occurred in Argentina, I will reflect on the proposal that introduced an artistic intervention, trying to put into dialogue the contribution that art offers, which can become an ally when not only revealing what that occurs with violated women, but also helps to generate new consciences and contribute to modifying realities, constituting a tool for social denunciation.

The emergence of the Musée du quai Branly project and its inauguration in Paris in 2006 have sparked off many controversies and stimulated numerous debates about the politics of representation, the colonial heritage in museum collections, the influence of art dealers, the role of indigenous communities, but also and above all the often antagonistic relationship between ethnographic and aesthetic approaches. It is not our intention here to reopen the controversy of the origins or to settle the alternative between the End of Art and the end of museum ethnography. On the contrary, we wish to place ourselves in a historical perspective, and to take advantage of this contribution to lay down some milestones in an intellectual journey that began more than a century ago and which is still often written in the mode of discontinuity.