Search

Purpose This study aims to explore the main concerns and attitudes Basque adolescents have regarding online privacy. It analyzes their motivations for sharing private information and the kind of information they share. Likewise, it examines whether they consider the potential consequences of revealing certain information online and analyzes if there are any differences between the motivations and attitudes of young people from Gipuzkoa and Labourd. Design/methodology/approach For this study, three methods were combined to collect the data in 17 schools in the Basque provinces of Gipuzkoa and Labourd: a survey carried out among 1,133 students, out of which 242 also completed a diary and 482 took part in discussion groups. Findings The data from this research does not fully support the “youth cultures of disclosure” (James, 2009) in the Basque Country; however, some of these practices have been observed. Originality/value Time spent online by adolescents has increased sharply in recent years. This increase has brought with it concerns about youth’s level of awareness regarding online privacy. This is the first cross-border study conducted in the Basque Country addressing this topic (in the Basque Autonomous Community, administratively belonging to Spanish territory, and in the Northern Basque Country, administratively in French territory).

This paper addresses the experiential field of artistic pieces that incline language and words to work from their sound, material and rhythmic dimension. They are poetic and sound works freed from ...

Drawing on fragments from the performance Plastika (2013), this article explores the relationship between text and voice, between a text and its voices. The voice that it deals with is both textual and oral, even though it reaches us in written form or as grafts, and it allows us to listen to more than just the materiality of language, the sonority of the words, and the grain of the voice, In this textual voice, which can be both poetic and performative, we can hear the uniqueness of a voice that exceeds meaning, escapes the body, and begins interating with other singular bodies, drives and disruptions of the transformative power of the voice and of language.

One of the ways to tell today is to rematerialize the language, to put in the foreground the materiality, the rhythm and the sonority of the words. When what most exploits post-fordist capitalism is our communicative and linguistic capacity, and in the middle of the virtual textualization of life, what to say, then, how to say, with what words and what bodies. Working from artistic practice with the linguistic universe does not necessarily mean generating narrativity. Writing about the ways of telling today does not mean discursivizing. This is what happens in some artistic pieces that go beyond the textual (the view) to move to the sound (listening) and to an orality that puts the body listening; Una de las maneras de contar hoy pasa por rematerializar el lenguaje, por poner en primer plano la materialidad, el ritmo y la sonoridad de las palabras. Cuando lo que más explota el capitalismo postfordista es nuestra capacidad comunicativa y lingüística, y en medio de la textualización virtual de la vida, qué decir, entonces, cómo decir, con qué palabras y qué cuerpos.Trabajar desde la práctica artística con el universo de lo lingüístico, no significa necesariamente generar narratividad. Escribir sobre las maneras de contar hoy, no significa discursivizar. Es lo que sucede en algunas piezas artísticas que traspasan lo textual (la vista) para desplazarse a lo sonoro (la escucha) y a una oralidad que pone el cuerpo a la escucha.

This essay takes as starting point the question posed by Gilles Deleuze –following Spinoza-, the well known What can a body do?, in order to reformulate it into: What can the interweaving of voice, body, word and language do within dance? Through this question and researching the work by artists such us Vera Mantero, Idoia Zabaleta, Filipa Francisco and Irena Tomazin, the text explores the field of experience, as well as the meanings that arise from a dance that bursts into speaking; Este ensayo parte de la pregunta que ya hizo Gilles Deleuze –siguiendo la de Spinoza-“¿qué puede un cuerpo?”, con la intención de reformularla de esta manera: ¿Qué puede el entrelazamiento entre la voz, el cuerpo y el lenguaje en el ámbito de la danza? A través de esta cuestión y mediante la investigación de la obra de coreógrafos como Vera Mantero, Idoia Zabaleta, Filipa Francisco e Irena Tomazin, el texto investiga el campo de experiencia y los significados que se abren cuando la danza rompe a hablar.