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In the current processes of international gender equality and women's empowerment, the ethnic and cultural groups that are less represented and with seats or pockets of resistance, may be the slowest to advance. In this context, we proposed to contribute to gender equality and social empowerment of Shuar women, through a deeply symbolic contemporary pictorial series, in the format of a triptych, as a contribution to a path in which we already recognize some progress in Ecuador. Our work guides the viewer through a symbolic journey that represents three moments of challenge and resilience faced by Shuar women. First the confrontation with ingrained gender stereotypes, unfavorable to the community. Then the struggle that represents resilience and the search for equity. Finally, the rebirth, which represents the notion of overcoming, triumph and happiness achieved through empowerment. The work was possible after an investigation in which the ethnographic experience of the artist himself prevails, who searched for and selected the tools aimed at understanding and treating the problem in acrylic on canvas. The resulting experience transcends mere artistic expression, seeking also to become an instrument of social change. It aims to contribute to update ways of thinking in tune with the social advances of the country, to promote solidarity with women and their dignity in the world of work.

Currently, Costa Rica does not count with a rigorous methodology that considers the proper variables required to assess the structural health condition of bridges. Some institutions use different criteria in order to assign a rating to the evaluation of a structure and this generates different results when prioritizing interventions. The prioritization of road infrastructure projects is key to invest resources in the most efficient way possible. In this context, this article presents a proposal that seeks to standardize an index for the structural health condition of bridges, which allows prioritizing and allocating resources objectively. For this index, the evaluation of the structural condition of critical elements is used, as well as risk matrices related to seismic and hydrometeorological hazards. As a result, the design of this index involves the analysis of a large number of variables through technical and statistical criteria., Actualmente, Costa Rica no cuenta con una metodología rigurosa que considere las variables requeridas para calificar la condición de la salud estructural de un puente o estructura de paso. Algunas instituciones utilizan criterios diversos para asignar una calificación a la evaluación de una estructura y esto genera que se obtengan resultados diferentes al priorizar intervenciones. La priorización de los proyectos de infraestructura vial es clave para invertir los recursos de la forma más eficiente posible. En este contexto, este artículo presenta una propuesta que busca estandarizar un índice de la condición de la salud estructural de un puente, que permita priorizar y asignar recursos de forma objetiva. Para este índice se utiliza la evaluación de la condición estructural de elementos críticos, así como matrices de riesgo relacionadas con amenazas sísmicas e hidrometeorológicas. Como resultado, el diseño de este índice involucra el análisis de una gran cantidad de variables mediante criterios técnicos y estadísticos.

Ecuador is a plurinational and intercultural country, possessing a wide and rich cultural and iconographic baggage, linked to mythology and ancestral traditions that enrich the symbolic imaginary of the country. This cultural and identity reality is notoriously affected by the current consolidation of global culture, which increasingly distances the common citizen from his original ties. In this context, we proposed to contribute to the cultural validity of Ecuadorian ancestral deities in the current symbolic imaginary, through a contemporary visual sculptural reinterpretation. The series, composed of five pieces made of plasticera (a material that guarantees technical updating), was generated after the iconographic and symbolic collection of pre-Columbian sculptures and oral and written narrations of four Ecuadorian cultures (Cañari, Manteña, Shuar and Kichwa) that have women as main figures. Thus, their primordial role within the communities is highlighted. The feminine is highlighted while stimulating a new canon based on a process of visual stylization. The aesthetic experience promotes an awakening to the reality of the visual and symbolic richness of the country, as well as an iconographic and stylistic renewal through a work that is more creative than reproductive, deeply hedonistic and beautiful, showing culture as a continuous and rich process, as obliged to adaptability as to historical resistance.

ILLUSTRATED E D I T O R I A L DESIGN F O R THE RESCUE OF P O P U L A R STORIES FROM THE SANTA ISABEL CITY is a project that was born with the intention of creating a nice proposal to publicize the popular stories from Santa Isabel City and create a graphic line that identifies attracts the users. This project tries to create and standardize a graphic and editorial line to collect popular stories and traditional stories of events in the Santa Isabel area and thus provide suitable material so that they can enjoy this type of narrative.

The present work seeks to represent corruption, focused on the most popular sport on the planet as it is football. Through the use of symbols, it is intended to create the new allegory of the 21st century. With the use of oil painting, collage, and object art, an artistic piece is reproduced, where the use of portraiture and symbology indicate those involved in the most controversial case occurred in the history of football known as media: the FIFA gate. Through art, there is the possibility of making visible social problems such as corruption, so this work works as a method, communicative and educational enunciator to generate awareness.

“Animals parts uso y des-uso en el reino animal”, is a artistic production of art object. The production have been elaborated with common residues taken from animal waste used by human being all days for example bones, wool, feathers and scales with this elements make common objects. The concept of workarte was born as a response to man´s habit of using animals for his financial and pleasurable benefit. Bioethics and morality are the defiance in this artistic proposal just as publicity in the animal consumption market, the production aim to play a critical, metaphorical and satirical role in response to actually society in order to understand the subject from the point of view: animalist, philosophical and artistic.

Traditional Latin American celebrations are rituals with a strong significant aesthetic charge. In these there are different devices that are playfully activated and that turn the “surprise” into an aesthetic tool for celebration. This work conceptually and practically addresses the use of these aesthetics in a contemporary art proposal, proposing an artistic installation with 21 piñatas that recall the social protests that occurred in 2019 in Ecuador.

Gallery of popular characters from Cuenca (Ecuador), contemporaryized aesthetically with the language of pop art, has its starting point in the importance of rescuing and preserving the popular memory, which surrounds the city of Cuenca, in order to increase its historical-social value. An attempt is made to recall some of the popular characters that at a certain moment left a mark for their occurrences and originality in the city, being the axis that gives rein to this work. In conclusion, this artistic exhibition has to contribute to the rescue of the memory of popular characters, which is transmitted through a symbiosis of techniques and stylistic currents that are compatible with an accelerated society and continuous change.

Dipteryx panamensis and Hieronyma alchorneoides are two species of high specific gravity used in reforestation programs in Costa Rica, but they lack products with structural value for commercialization. In order to introduce the wood of these two species in the market, the objective was established to study the behavior of solid timber beams and glued laminated timber beams of two cross sections (2 cm × 10 cm and 2 cm × 15 cm) and establish the design values in bending test. The results showed that the bending design values (fb) ranged from 2 to 26 MPa in glued laminated timber beams, while in solid timber beams, fb ranged from 6 to 15 MPa. In the shear design values (fv), the variation was from 0.29 to 0.67 MPa in glue laminated timber beams and from 1.80 to 2.58 MPa in solid timber beams. It was also found that the D. panamensis beams showed higher values than H. alchornoides beams. Finally, it was established that glued laminated timber beams showed better performance in bending parameters and higher design values, resulting in wider span values, than solid timber beams when used in floor and roof construction., Dipteryx panamensis i Hieronyma alchorneoides dvije su vrste drva velike specifične gustoće koje su uvrštene u program pošumljavanja u Kostarici, ali se ne iskorištavaju za strukturne proizvode kako bi se komercijalizirale. Da bi se te dvije vrste drva plasirale na tržište, istraženo je ponašanje lameliranih greda i greda od cjelovitog drva s dva različita poprečna presjeka (2 cm × 10 cm i 2 cm × 15 cm) te su ispitivanjem savijanja utvrđene projektirane vrijednosti. Rezultati su pokazali da su se projektirane vrijednosti savijanja (fb) kretale u rasponu od 2 do 26 MPa za lamelirane grede te od 6 do 15 MPa za grede od cjelovitog drva. Projektirane vrijednosti smicanja varirale su od 0,29 do 0,67 MPa za lamelirane grede te od 1,8 do 2,58 MPa za grede od cjelovitog drva. Za grede od drva D. panamensis izmjerene su veće vrijednosti ispitivanih svojstava nego za grede od drva H. alchorneoides. Konačno, utvrđeno je da su lamelirane grede pokazale bolja svojstva savijanja i veće projektirane vrijednosti od greda od cjelovitog drva, što rezultira većim vrijednostima raspona kada se rabe na podu ili krovu.

Digital illustration is a graphic tool used as a universal language; the naturalistic illustration shows an invisible reality to the viewer, without losing its essence, being observation the one that allows creating pictorial representations that involve the creative part through analogous and digital techniques; being the watercolors together with the brush stroke the starting point to reflect the variety of vulnerable amphibian species, their shapes, colors and details. At the same time, the illustrations are immortalized by digitizing where the illustrator artist through observation and the help of a digital tablet captures his creativity with the sole purpose that his production is to disseminate and reflect the natural variety through a catalog illustrative digital naturalist in an easy and simple way to raise awareness of people's perception of the world around them, here art merges with science to develop learning, awareness and action for the care of nature.

This project aims to safeguard the intangible heritage and in turn aims to give a historical value to the characters who still live in the parish center of Santa Ana and its surroundings, since there is knowledge of the existence of many characters who live or have lived in the sector, However, they have not been recognized, perhaps because of their way of being, their way of life, their disability, but nevertheless they live in the memory of the inhabitants of the parish, and this work aims to nurture and revalue people who at some point were made invisible. For the creation of the illustrations, a historical journey has been given based on the history of the beautiful and the history of the ugly, thus nurturing the approach of the canons that are desired to follow for the representation of each character, because each stroke is an approach to the way of symbolizing the character. The importance of keeping the remembrance of the people safe, makes us think again about our identity, our great history, our rich culture; facing the reality of a globalized world that negatively affects the human heritage (immaterial) of the parish of Santa Ana.

The present document revolves around an artistic proposal made in the form of a music video clip, taking the Ecuadorian Pasillo "El Aguacate" as its main axis, using the technique of digital drawing and various technological tools for its preparation. This in order to create an artistic product that highlights an element of Ecuadorian culture such as its music and in turn proposes a greater interest in digital tools as means of artistic creation. Presenting as a final result, a project with investigative bases and a technical resolution. Said artistic project will be structured in two phases: the theoretical section and the construction of the work.