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In this text we address the possibility of deconstructing the relationships - that have water as a resource available to humans - that have ordered some dichotomies such as anthropos-nature, establishing that there are methodologies, theories and world visions that govern anthropocentric life, and they are out of stock. Our objective is to illuminate those possibilities that water has to think and feel from a perspective that is not centered on man as its manager and owner. From this perspective, we visualize the work of two artists: Acoustic Ocean (Ursula Biemann 2018) and To Stop Being a Threat and to Become a Promise (Carolina Caycedo 2017) - that promote discourses of conscience and affection another - and we carry out an ethnography in a deanthropic key as a vital force to establish new conditions based on other modes of relationship between humans, non-human species, technologies and immaterial entities that co-inhabit the planet. [ABSTRACT FROM AUTHOR]

The issue of preserving cultural codes in ethnic communities in the era of globalization is relevant. The departure of a greater share of social interactions into the digital information space raises the need to include elements of traditional forms of culture in it in order to preserve and strengthen the ethnocultural identity of communities, especially in multi-ethnic regions. The most effective means of transmitting and assimilating cultural codes as the basis of identity, both among members of local sociocultural communities and among the larger society of the Russian nation, are artistic practices. The goal of the research is to identify the role of electronic media in the region in updating cultural codes and forming a complex of identities of the population. The research method used was content analysis – a selection of television programs about artistic practices over a certain time period, followed by classification and generalization. It was revealed that the main form of representation of artistic life are fragments of news blocks relating to exhibitions, festivals, competitions, theatrical performances, etc., which presented: a display of the traditions of folk art of local residents – the Circassians, the Cossacks, the Russians; coverage of artistic events with heroic and patriotic content; a story about involving children in activities in the field of academic art (sculpture, music). Taken together, a picture emerges of a stable system of artistic life in the region, within which an environment is formed for the preservation of cultural codes and a harmonious balance of ethno-local and national identity.

This article examines the evolution of artists' interaction with the audience in the context of media culture, linked to the updates of communication mechanisms on the Internet, from the static Web 1.0 to the interactive Web 3.0. The aim of the article is to show the connections between the changes in authorship models and mechanisms of interaction with the audience in artistic practice and the evolutionary development of web technologies. The transformation of contemporary artistic forms is the result of the active influence of digital technologies and the associated collapse of the existing hierarchy between author, performer and audience. The study discusses the strengthening of the interactive component in artistic practices, parallel to the development of Internet technologies from Web 1.0 to the semantic Web 3.0 and analyzes the overlapping of these processes and their mutual influence in the context of post humanist perspectives. It was found that artistic collaborations through collective authorship are a characteristic model of authorship for this phase of Internet development. It was noted that the evolution from Web 2.0 to Web 3.0 opens new possibilities for the creation of multisensory experiences, thanks to the use of VR (Virtual Reality) and AR (Augmented Reality) technologies, which are actively used by artists in artistic practices and works, for example in operas or concerts. In addition, the active development and integration of artificial intelligence technologies in artistic practices has been identified. By analyzing musical projects of different genres and forms, the transformative influence of web culture on contemporary artistic practices becomes clear. [ABSTRACT FROM AUTHOR]

The context in which artistic practices are developed today requires a constant preoccupation with the challenges and commitments of artistic research, an intrinsic condition of these endeavors. Artistic research supports many points of coincidence, interaction, or overlap with the principles of scientific research, although they are characterized by a series of specific parameters. Due to the particularities of artistic research, art that questions topics of global interest (as happens in the case of sustainability, ecology or technology) is the art of our time, and the communication of these positions presupposes the development of ideas through research. The present text establishes a series of parameters related to engagement in artistic research, approached through the prism of representative contemporary artistic practices. [ABSTRACT FROM AUTHOR]

The phenomenon of urban squatting entails social experiences of appropriation and use of abandoned buildings. Concurrently, the Centros Culturales Okupa (CCO) constitute specific forms of urban squatting articulated around cultural and artistic practices. Based on the analysis of the material and socio-symbolic dimensions of CCOs, this article aims to interrogate the specificity of this type of urban squatting regarding the production of habitat. In order to do that, the investigation draws on two case studies located in Argentinian cities: Centro Kultural Independiente (CKI) (Rosario, 1997-1998) and Centro Kultural Trivenchi (CKT) (Buenos Aires, 2001-present). The research uses a qualitative methodological approach, which triangulates in-depth interviews, audiovisual materials, and written documents. The architecture of the text analyzes the cases of the CKI and the CKT through four comparative nodes: the contexts of squatting, the processes of material adaptation of space, the practices and significations of the participants, and the conflicts with the urban governments. It is concluded that CCOs produce habitat through a differential spatial appropriation that, driven by cultural and artistic dimensions, enables the opening and putting into social circulation of spaces closed by the capitalist restructuring of cities. [ABSTRACT FROM AUTHOR]

This article interrogates artistic practices during the revolution in the context of the MFA's Cultural Dynamisation and Civic Action Campaigns (1974-1975). It begins by revisiting a corpus of ethnographic data collected as part of a research published in 2009 (Almeida 2009) on this initiative, assuming the potential of the second life of ethnographic data (Leopold 2008; Almeida and Cachado 2016, 2019), especially what it can still tell us in light of the main themes in the anthropology of art. In this way, I intend to discuss how artists set out to intervene in reality within the scope of this initiative and how their artistic practice was configured as a platform for action, identifying in this period the emergence of an artistic and aesthetic vocabulary that is close to what is now categorized as dialogical, collaborative, participatory, community, socially committed related to participatory art, community art (Bourriaud 2006 [1998]; Crehan 2011; Flynn 2018; Sansi 2015 Kester in Garrido Castellano and Raposo 2019). [ABSTRACT FROM AUTHOR]

There exist already many practical projects that bring together Education for sustainable development (ESD) and artistic practices. They tie in with the transformative potential and the power that are attributed to the field of art in dealing with issues in the context of sustainable development. However, it is currently not clear how this potential is to be assessed in the field of formal education and especially in primary schools. This article addresses this issue on a theoretical level. It discusses how the inclusion of artistic practices in ESD can promote specific competences to help shape sustainable development and thus contribute to the overall goals of education. This incorporation takes place along four central areas, namely, development of vision, multi-perspectivity, spirit of inquiry and openness, which are central to both the educational concept of ESD and an artistic approach. [ABSTRACT FROM AUTHOR]

This editorial introduces the Special Double Issue of Philosophy of Photography (15.1&2), which focuses on the impact of novel technologies on photography and through this on our understanding of the contemporary world. It sketches the contents of the featured articles and articulates some of the technical developments, concerns and questions that inform and link them. [ABSTRACT FROM AUTHOR]

This article examines the evolution of artists’ interaction with the audience in the context of media culture, linked to the updates of communication mechanisms on the Internet, from the static Web 1.0 to the interactive Web 3.0. The aim of the article is to show the connections between the changes in authorship models and mechanisms of interaction with the audience in artistic practice and the evolutionary development of web technologies. The transformation of contemporary artistic forms is the result of the active influence of digital technologies and the associated collapse of the existing hierarchy between author, performer and audience. The study discusses the strengthening of the interactive component in artistic practices, parallel to the development of Internet technologies from Web 1.0 to the semantic Web 3.0 and analyzes the overlapping of these processes and their mutual influence in the context of post humanist perspectives. It was found that artistic collaborations through collective authorship are a characteristic model of authorship for this phase of Internet development. It was noted that the evolution from Web 2.0 to Web 3.0 opens new possibilities for the creation of multisensory experiences, thanks to the use of VR (Virtual Reality) and AR (Augmented Reality) technologies, which are actively used by artists in artistic practices and works, for example in operas or concerts. In addition, the active development and integration of artificial intelligence technologies in artistic practices has been identified. By analyzing musical projects of different genres and forms, the transformative influence of web culture on contemporary artistic practices becomes clear.

Copyright of Cuadernos de Historia del Arte is the property of Cuadernos de Historia de 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.)

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Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico 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 special issue 'Immersive Horizons: blurring the creative frontiers between virtual and material worlds', presents a collection of articles from RE:SOURCE – The 10th International Conference on the Histories of Media Art, Science and Technology held in Venice in 2023. This edition focused on the intersection of media art history with the ongoing climate emergency, exploring new perspectives on resources and archival methods. In this framework, this collection focuses on the emergence of the virtual world as a significant force in contemporary society, blurring the boundaries between physical and digital realities. Authors have seized this opportunity to redefine perception and representation, challenging conventional notions of identity and connectivity. Through diverse approaches, ranging from telematic artworks to virtual reality experiences, the issue explores the transformative potential of immersive technologies in shaping artistic expression and cultural discourse, aiming to encourage experimentation and provoke meaningful conversations about art and technology. [ABSTRACT FROM AUTHOR]

This paper presents an analysis of how neo-shamanic communicative practices have evolved in Siberia and the Russian Far East over the last four decades. We identify three social cultural factors that have facilitated the spread of neo-shamanism: the ideological vacuum left by the collapse of the Soviet system; foreign missionaries and their work; and ethnic revival. We discern three periods in the development of the communicative practices according to a respective key process in each of them. During glocalization, followers of experiential neo-shamanism and initiators of the revival of indigenous shamanic traditions act as agents of communication. During institutionalization, what takes place is typification and streamlining interactions with mass audiences, with government agencies, tourism industry and artistic practices. The period of hybridization is the time when neo-shamanic elements merge with parapsychology, business consulting, fine arts, and when neo-syncretic forms are created. [ABSTRACT FROM AUTHOR]

The flourishing of graffiti culture in modern cities is a multidimensional phenomenon with a complex socio-cultural, artistic and historical genesis. This article attempts to contrast an analysis of the graffiti phenomenon as an organic element of the urban environment with a point of view of mere art history, and to examine the visual narrative of graffiti through the prism of urban poetics in the context of urban everyday life and social communication practices.

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.)

In this article we propose a theoretical-methodological reflection on a research work that takes the form of an artistic (co)production workshop in a public secondary school located in a context of urban poverty in the Metropolitan Region of Buenos Aires (MRBA). We recovered field material produced during 2022 to explore the possibilities of this methodology. Working with artistic practices allows the unfolding of a narrative, a saying, at the same time that it is proposed as a training experience for students, connecting with the task that the school carries out on a daily basis. [ABSTRACT FROM AUTHOR]

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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.)

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.)

The global pandemic of COVID-19 has shaken the education system, which has struggled to respond inclusively to the challenge of continuing the course from home. This research presents a socio-educational practice based on the investigation of the immediate environment of the students of the Bachelor's Degree in Primary Training of University of Lleida from their lockdown from the concept of infraordinary coined by Georges Perec. The students lived a work proposal to reverse the restrictions imposed by lockdown based on video recordings made from their windows, field diaries, and discussion groups. The research results show how the work on art and the capture of the infraordinary during these restrictions have helped them to approach the curriculum in an inclusive and committed way with the quotidian, the environment and the community. This approach has allowed them to engage in reflective, creative, critical and inclusive practices to confront the post-coronavirus era. [ABSTRACT FROM AUTHOR]

The purpose of the work is to investigate the artistic and stylistic practices of V. Hegemyan, which he applied in the process of creative activity in the context of the history of art of Armenia and Ukraine. Emphasis is placed on clarifying biographical facts about the artist and teacher. The research methodology consists in the application of general scientific and special research methods, in particular, analysis, synthesis, induction and deduction, generalization and abstraction, semitic, descriptive, which collectively allowed to consider artistic practices in the work of the artist V. Hegamyan. The scientific novelty of the work lies in the fact that for the first time the facts of the artist's creative biography were introduced into scientific circulation, which made it possible to reveal the intercultural influences of the environment of Ukrainian and Armenian cultures on the formation of V. Hegamyan's creative style. Conclusions. V. Hegamyan's creativity and teaching are frankly synthetic in nature. Both of his activities are based on classical traditions, but as a result are qualitatively new artistic phenomena. Hegamyan's artistic style is a kind of symbiosis of masterful realism and modernist principles of symbolism, expressionism, fauvism, and constructivism embodied in monumental techniques. V. Hegamyan's genre work is widely represented: from studies of classics, landscapes, still lifes, wonderful realistic and conventional portraits to huge genre paintings. There are strong ethnic motifs in the artist's work: both Armenian and Ukrainian, while the artist nevertheless operates with general aesthetic categories, finding his own symbolic and figurative meaning. [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 Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional 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.)

This paper aims to unpack the relational dimension of place and placemaking by analysing how creative actions underpin relational values towards socio-spatial restoration in the sacrifice zone affecting the communities of Quintero and Puchuncaví (QPSZ) in Chile. Sacrifice zones are places permanently subject to environmental damage and lack of environmental regulation. For affected populations in environmentally degraded areas, creative actions such as murals, music, and street performances have become a way to re-establish connections both among humans, and between humans and the environment. To date, little has been theorized on this connection. With this in mind, we use network analysis to analyze which and how relational values are mobilized by artistic actions, and to examine ensuing socio-spatial transformations. Drawing insights from 35 interviews with activists, artists, and residents in QPSZ, we observed relational effects of arts, especially in creation processes, and in representations of local elements and life histories. The materiality of artistic practices raised as a force of placemaking, and so did artistic spaces as promoters of networking and social cohesion, essential for socio-spatial restoration. By bringing together insights from aesthetic politics, human geography, and relational values, this paper contributes to the emerging literature on art committed to tackling socio-environmental crises, and to political–ecological theories on the transformation of degraded areas. [ABSTRACT FROM AUTHOR]

Copyright of Religación: Revista de Ciencias Sociales y Humanidades is the property of Religacion: Revista de Ciencias Sociales y Humanidades 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 discusses insights of a research regarding the platformed audiovisualities on the strategies by the female independent musicians of Porto Alegre (Brazil) and Milan (Italy) during the Covid-19 pandemic, considering their practices of resistance in this period with the usages an appropriation of technology. Based on qualitative research using the cartographic method (Canevacci, 1997), we mapped female musicians (composers, singers and instrumentalists), and their videos, and made interviews. Our analysis shows two relational tendencies, constellations (Canevacci, 1997), which illuminate the information gathered, making it possible to understand and analyse it by means of the empirical data connection and edition, in an interpretative process which holds the knowledge’s luminous sense: 1) the narrative built on the divulgation steps; and 2) the network articulated with the audience and other musicians. Considering their strategies, our research highlights the artivism which is present on their actions. With that, when actualising the audiovisualities, being women and into practices of resistance, they might have also actualised the do-it-yourself ethos in both independent music scenes.

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.)

The infrastructure-led development model initiated by China under the Belt and Road Initiative (BRI) has faced domestic and international challenges. By focusing on a national travelling art exhibition featuring Chinese railway construction in Africa in 2023, this paper examines the role that curatorial and exhibition practices can play in (re)shaping public geopolitical understandings of China-Africa relations. Exhibiting over 200 artworks collected from both China and Africa, this art programme not only forms a nuanced, personal and storied narrative of China’s overseas development work in Africa but also tactically responds to current internal and external criticism of the Chinese government’s global ambitions channelled through the BRI. This work extends the ongoing interest geographers have at the intersection of the visual arts and critical geopolitics. [ABSTRACT FROM AUTHOR]

Copyright of Human Review is the property of Eagora Science 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 ongoing critical European border regimes are leading to the emergence of new official/unofficial refugee and migrant camps, which I understand, are an important aspect of the (post)colonial era. Of particular interest to this paper is reflecting upon past actions and motivations in my first experience in one of the biggest informal camps in Europe, ‘The Jungle’ in Calais, France. For this purpose, I question my artistic and pseudo ethnographic methodologies. Such as artistic intervention with an art action, participatory observation, and informal interviews, reflecting on how to research these ‘peripheral’ places. I will deal with my own experience in The Jungle with ethnographic and artistic considerations and consider theories such as; the art of resistance and (post)colonial practices, which have helped guide my ongoing thoughts on ‘monumentally’. I see The Jungle as a possible visual manifestation of ongoing problematics of the ‘autonomy of migration’ in a contemporary Western context. The particular interest of this text is the reflection on/of different theoretical, ethnographic, and artistic materials from the research during my first encounter in The Jungle. The major focus is between 2015 and 2016 when the urban and social development of the area took place (and when my initial fieldwork took place). This text engages on layers of memory with aspects of personal experience and anthropological theory.

This text analyzes the artistic practices in the rural school, considering the presence of struggle and social transformation as a category in the pedagogical approach. We took as a basis a work that analyzed the movements of re-elaboration of the Social Representations of rural teachers, graduated of the Degree course in Rural Education of the Faculty of Education of the Federal University of Minas Gerais. To this end, we consider that artistic practices can be understood as forms of creation, fruition, and reflection of Art, elements that add the educational processes to the historicity and resistance present of the Movement of the struggle for Rural Education. We had a methodological approach to narrative interviews and observation of pedagogical practices. These elements allowed us to understand the pedagogical aspects of the struggle in teaching practices that carried the intentionality of transformative education.

The study of art when it involves the social sphere has acquired great relevance in contemporary anthropology. Hence, this article has been the result of reconstructing the concept of artistic practices, from the approach of anthropology of contemporary art, in order to relate it to community processes and anarchism. The focus on the reconstruction of the concept of artistic practices has allowed us to center, not on the aesthetic sphere, but, rather, on their effect on the state of things. This means that artistic practices in community processes are carried out in those spaces where hegemonic institutions do not have a preponderant role (intermediate spaces) and recognizes that people involved are also encounter facilitators; which breaks the idea that the artist-collective comes to empower people. That is why we take the anarchist precepts to talk about what is implicit in the processes and relationships that this kind of practices generate. This allows us to consider that those artistic practices in community processes do not revolve only around art and its practices, but also involve different spheres of our life, such as violence, gender and social movements. [ABSTRACT FROM AUTHOR]

The article approaches artistic practices in a small city. It follows a group of visual artists from different cities in the northwest of the province of Buenos Aires. The paper analyzes how the ways in which members of this group perceive the limits, distances and meanings of what is local affect their perception and positioning as "peripheral" within the field of culture. It is based on interviews with group members and the participation in virtual and in-person activities between 2019 and 2021. The article examines the definition of an inside and an outside of the locality and constructs the category of exteriority as a constitutive part of the social world in which this group of artists is inserted. [ABSTRACT FROM AUTHOR]

Copyright of Arte y Políticas de Identidad 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.)

This work analyzes the movement of re-elaboration of social representations on artistic practices of rural teachers. These educators have graduated Rural Education from Faculdade de Educação at Universidade Federal de Minas Gerais, Brazil. Artistic practices constitute a way of creation, fruition, and reflection of art present in education processes. Those practices carry historicity and resistance embedded in the struggle of social movements to the right of rural education. The theoretical background is guided by the Social Representations in Movement, related to the Theory of Social Representations. The methodological approach is based on narrative interviews and observations of pedagogical practices. The data analysis was built from the reconstruction of trajectories considering the movement of the Social Representations. We have observed that the artistic practices can be seen as a pedagogical mechanism of the struggle for transforming education and by strengthening rural identities.

Basado en la relación de la autora con la naturaleza y su experiencia de la Naturaleza como “consumo” digital, este artículo analiza la frontera que divide aquello que se clasifica como “vida natural” de lo que se percibe como “vida artificial”. Se parte del entendimiento de mi? Practica artística, como un aprendizaje motivado por la idea de que la tarea de curar un conjunto de datos y entrenar una red neuronal y explorar los resultados de los modelos producidos puede ser concebido como una forma de meditación en torno a un sujeto. El artículo concluye exponiendo como la vida artificial puede ser una interfaz experimental, pues dentro de lo digital se pueden encontrar incontables maneras de crear experiencias e interacciones. Es posible también crear formas de vida digitales que se pueden entender como actores autónomos y en donde podemos explorar una cantidad inconmensurable de narraciones alternativas que permitirán quizá ver nuestro mundo físico bajo otra luz. This article explores the artist's relationship with Nature and her experience of Nature as a form of digital "consumption". The author analyzes the limit that divides what can be qualified as "natural" or "artificial" life. Taking into consideration the artistic practice of the author, where she considers that curating a set of data, training a neural network and exploring the results of the model produced can be understood as a form of meditation around a subject. Finally, it exposes how artificial life can be an experimental interface, for within the digital we can find countless ways to create experiences and interactions. It is also possible to create digital life forms that can be understood as autonomous actors. It can be a place where we can explore a potentially countless amount of alternative narratives that in turn will perhaps allow us to see our physical world in a slightly different light. Partindo da relação da autora com a natureza e sua experiência da Natureza como "consumo" digital, este artigo analisa o limite que divide o que é classificado como "vida natural" do que é percebido como "vida artificial". Ele parte de uma compreensão da prática artística do autor como um aprendizado motivado pela idéia de que a tarefa de curar um conjunto de dados e treinar uma rede neural e explorar os resultados dos modelos produzidos pode ser concebida como uma forma de meditação sobre um assunto. O artigo conclui delineando como a vida artificial pode ser uma interface experimental, pois dentro do digital podem ser encontradas inúmeras maneiras de criar experiências e interações. Também é possível criar formas de vida digital que possam ser entendidas como atores autônomos e onde possamos explorar uma quantidade imensurável de narrativas alternativas que talvez nos permitam ver nosso mundo físico sob uma luz diferente.

The main objective of the transdisciplinary and arts-based research project "The Art of Arriving: Reframing 'Refugee Integration'" is to explore the transformative potential of the arts for the sociology of migration and integration. By creating a real-world laboratory where sociologists accompany artists as they create, and recipients while they interpret aesthetic expressions, the project focuses on the process of refugees' arriving. The aim is to examine if and how the meaning-making processes involved in creating and interpreting art can foster alternative views about "refugee integration" and extend or even revise the traditional sociological toolkit for understanding integration. The article discusses the methodological implications of the planned transdisciplinary multimethod approach by paying particular attention to the different logics of knowledge production in science and the arts. Additionally, it sheds light on the benefits associated with the mutual translation between sociology and various fields of art, which is mediated through the process of creating and interpreting aesthetic expressions in the context of refugee migration. [ABSTRACT FROM AUTHOR]

A case study focused on the reinterpretation that the artist Alán Gómez makes of the private archive of the criminal lawyer Javier Viera Múnera, found in an antique shop in the city of Medellín, precedes a critical analysis on the relationship between art and archive. The use of creative art strategies is highlighted when challenging and renewing the way of recording, storing and transmitting archived information. It will be shown that the selection, description, classification and analysis tasks that the artist does about the social situations contained in the archive, promote a different vision of the time of the information. Through art, the common representation of the archive as a neutral and static entity is questioned. [ABSTRACT FROM AUTHOR]