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Copyright of Diálogo com a Economia Criativa is the property of Dialogo com a Economia Criativa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Temas de Comunicacion is the property of Biblioteca Central de la Universidad Catolica Andres Bello (UCAB) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Esferas is the property of Esferas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Palíndromo is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Aura. Revista de Historia y Teoría del Arte is the property of Aura Revista de Historia y Teoria del Arte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Esferas is the property of Esferas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article addresses the study of the theory of frame semantics applied to heritage access. Based on the conception proposed by cognitive linguistics of the semantic framework as a tool for understanding, we present a study that explores the possibilities of this instrument as a catalyst for processes of teaching-learning of heritage. Taking into account the features of the a/r/tographic approach, the study is organized as a visual art practice in which research, education, and artistic creation are presented as simultaneous actions that feed back on each other. In such a way that the process and the resulting images are themselves an object of analysis, a research instrument and an educational proposal. [ABSTRACT FROM AUTHOR]

Copyright of Annuario di Antropologia is the property of Ledizioni-LediPublishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Universum is the property of Instituto de Estudios Humanisticos Juan Ignacio Molina, Universidad de Talca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comunicación is the property of Universidad Pontificia Bolivariana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1981, Laura Mulvey famously amended her original contentions in "Visual Pleasure" (1973) to introduce the notion of a "female gaze." Through ekphrastic poems--lyric representations of visual art--contemporary women poets have also questioned the plausibility of a (female) polyvocal viewing subject, especially when poeticizing photographic and sculptural material. This essay analyzes and compares Mary Jo Bang's and Bernadette Mayer's examples of ekphrasis, focusing on their feminist revitalization of the inanimate object through linguistic devices. In my close readings, I most notably propose a link between these poetic renderings and Katherine Behar's ironic reinterpretation of Levi Bryant's Object-Oriented Ontology (OOO) in her book Object Oriented Feminism (2016). Following this rhetoric, I reflect on the poets' blurring of the problematic subject/object dichotomy by means of formal experimentation. The oeuvres of both Bang and Mayer, all in all, highlight the efforts of contemporary feminist experimentalism to dismiss hierarchies and provide a space for the inbetween, anti-logocentric--and anti-patriarchal--poetic reality. [ABSTRACT FROM AUTHOR]

Copyright of Mediterranean Journal of Communication / Revista Mediterránea de Comunicación is the property of Revista Mediterranea de Comunicacion / Mediterranean Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper we discuss the role played by abductive reasoning and admirableness in the creative processes in the Big Data era. The conceptions of creativity, in the mechanistic and antimechanistic scope, are introduced by means of examples in the domain of photographic production, as is the case of Maureen Bisilliat (1995) and Nan Goldin (2012) works. As our investigation is essentially theoretical and interdisciplinary, it is mainly based on the literature on the concepts of creativity, abductive reasoning, and admirableness; it is grounded in different areas of knowledge, including Pragmatism, Literature, Visual arts and the Philosophy of Information. We discuss the limitations of mechanistic conceptions of creativity, arguing in defense of the hypothesis that creative action is not strictly related to the created object, but to a long collaborative process between agents that will assist (directly or indirectly) in the production of artistic works. In the conclusion, the role of emotions is highlighted in the dynamics of the creative/abductive process, as proclaimed by Charles Sanders Peirce (1958). Inspired by this author, we emphasize the role of admirableness in the process of creation - understood here as a feeling that encourages us to investigate and get to know the objects that attract our attention, without the desire for controlling them. [ABSTRACT FROM AUTHOR]

There are different elements that compose any photographic narrative. By identifying and assessing them clearly, one is able to find the traces of pioneering ideas stated by Ripa, Warburg and Eisner. Their visual image theories and interpretations paved the way for our understanding of the underlying elements that characterize photography during early 21st century. This academic paper is both an attempt to provide with analytical tools for the comprehension of current photographic narratives and a due tribute to Ripa, Warburg and Eisner for their enlightening approach to visual arts and photography. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Olhar de Professor is the property of Olhar de Professor and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Observar is the property of Revista Observar and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The review of proposals and photographic projects allows us to study the visual treatment that themes such as poverty and neighborhoods have had. Carefully chosen, these works approach these issues from a respectful and close look, away from stereotypes and idealizations. Showing, rather, the resilience that inhabits the photographed subjects and their own visions, since in some cases self-representation and the record of everyday life prevail, establishing connecting bridges between different contexts and realities. [ABSTRACT FROM AUTHOR]

Copyright of Revista Estudios de Filosofía is the property of Universidad de Antioquia, Instituto de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Cultural Studies / Roczniki Kulturoznawcze is the property of John Paul II Catholic University of Lublin, Institute of Cultural Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Museologia e Patrimônio is the property of Museologia e Patrimonio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

During the 1920s in Mexico, there was intense culture production that was markedly political. Tina Modotti and others artists from different areas began producing art that was public, meaning art made by people and for the people. Tina was an Italian photographer who moved to Mexico in the early 1920s. His portfolio includes photographs of murals, peasants, communist symbols, worker strikes and protests, plants, architecture, skulls, and agricultural schools, among other themes. His photographs were featured in countless publications, from art magazines to the promotional documents and circulars of new agricultural schools, which shows that the photographs had social and pedagogical meaning in addition to their artistic merits. [ABSTRACT FROM AUTHOR]

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper articulates formulations about the genesis of photography, its creation and reception from the perspective of Kossoy; a critical approach to technologies from the perspective of Flusser and the conception of creative praxis from the perspective of Vázquez, as bases for thinking about the teaching of photography in the initial education of art teachers. These bases are understood from the Historical- Critical Pedagogy theory, and bring as object of analysis the knowledge developed in the Clube de Fotografia extension project (LIFE/UDESC), to understand the photographic process as a creative praxis related to others acquirements in art, technical, material, structural, conceptual, historical or poetic acquirements. [ABSTRACT FROM AUTHOR]

Yolocaust is a project by Israeli artist Shahak Shapira that reorganizes photographs taken by visitors to the Holocaust Memorial in Berlin posted on various social networks superimposing them with images of Nazi death camps. In the present work, we analyze some images, with close attention to how temporal and documentary aspects make the images act on memories on the death camps. [ABSTRACT FROM AUTHOR]

Copyright of Anales de Historia del Arte is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Croma is the property of Revista Croma and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Aiming to remove from ostracism a poem that has not yet been read as a poem by anyone in Brazilian criticism, this essay seeks to provide some reflections around oútis, the opening poem in Augusto de Campos’ book Não. Starting from the only exception of Gonzalo Aguilar, who dedicates two valuable paragraphs to this poem, this paper puts forward the hypothesis that the excessively long date range appearing under the poem’s title leads us to read it as a synthesis of the author’s poetics. In a preliminary study of the relationship between poetry and photography, in dialogue with formulations by Benjamin, Eisenstein and Fenollosa on the cinematographic montage and the ideogram technique, we highlight the complexity involved in this “one-word poem” superimposed on the image of shadows on the grass, whose syntax assumes an intricate network of connections between the visible and the readable, Portuguese and Greek, poetry, visual arts and other poems throughout history, with which it enters in a synchronic constellation. [ABSTRACT FROM AUTHOR]

Copyright of Esferas is the property of Esferas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Architectus is the property of Oficyna Wydawnicza Politechniki Wroclawskiej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Megatrends & Media is the property of University of SS. Cyril & Methodius in Trnava, Faculty of Mass Media Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Imafronte. Revista de Historia del Arte is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La inmovilidad de (lo fijado en) la imagen-objeto invita a considerarla incompetente a la hora de representar el tiempo. Esta carencia fue considerada una virtud mientras el arte se consagró a representar lo inmutable, privilegiado por la metafísica clásica frente a las cambiantes percepciones de la sensibilidad. La imagen tecnológica habría venido a suplir aquella carencia justo cuando periclitaba este prestigio metafísico de la eternidad. La rotunda lógica de este relato minimiza la importancia de la «invención del cuadro» que inaugura la posibilidad de practicar la «temporalidad comparada», un ejercicio de anacronismo que permite representar el desplazamiento precisamente desde la inmovilidad. Desde esta perspectiva, y valiéndose de la teoría de la alegoría de Walter Benjamin, este artículo analiza la serie fotográfica de Fischli & Weiss, Aeropuertos, tratando de interpretar el relato de un proceso histórico de decadencia a partir de su eventual relación anacrónica con la pintura barroca. Ello permitiría concluir que la representación del cambio y la temporalidad no dependen exclusivamente del registro tecnológico.The Immobility of the image-object invites us to consider it incompetent when it comes to representing time. However, this inefficiency was considered a virtue, since art was devoted to represent the unchanging, privileged by the classical metaphysics against the changing perceptions of sensibility. The technological image would have come to fill that lack just when this metaphysical prestige of eternity became outmoded. The apparent clarity of this argument minimizes the importance of the «invention of painting», which opened the possibility of practicing a «dialectic temporality», a sort of anachronism that allows us to precisely represent displacement by means of immobility. From this perspective, and using Walter Benjamin’s theory of allegory, this paper analyzes the photographic series of Fischli & Weiss Airports, trying to see in them the story of a historical process of decadence from the starting point of its anachronistic relationship with baroque painting. This would entice me to conclude that the representation of change and temporality does not rely exclusively on technological devices.