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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.

The following research aims to create an artistic-educational proposal about the diversity of bodies, through clown language and theater to accompany the processes of self-perception and construction of body image of adolescents belonging to the General Basic Education Sublevel Superior. The play aims to provide a space for debate to rethink and deconstruct the hegemonic ideals of beauty and stereotypes that lead to a distorted perception of bodies causing dissatisfaction with their own body image. Because of this, it becomes necessary to generate this space of theatrical conviviality, where the opinions and thoughts of the students are validated to question the collective imaginary about the body and self-perception, which has been established in recent times. The play is presented as an artistic-educational proposal that is supported by the Curriculum of the Ministry of Education, and that contributes to the subjects of Cultural and Artistic Education and Physical Education.

The present investigation refers to transiting an artistic appropriation of the dead animal in its silent spiritual life for the analysis, visibility and resolution that has deconstructed the aesthetic transformations expressed in cultural activities, with a critical and political perspective, by affirming a symbolic image. to the effect of impartial and spiritual thought for sensitive, emotional, and intellectual appreciation. As a research-creation method, this project deals with a continuous process of artistic experimentation of symbolic objects that give off creative, affective, and collective processes; likewise, the multispecies ethnographic journey focuses on transdisciplinary development that enhances artistic training and the theoretical elaboration of institutions. The product deals with the construction of an installation work that demonstrates the process of this social phenomenon in the artistic field and even complementary to critical thinking, which addresses the knowledge of the passerby during the manufacturing process. The use of the bodies of dead animals that were found, transmuted, and modeled into symbolic objects deconstruct their presence and become protagonists of their representation and presentation through the public space. As a conclusion, the symbolic, aesthetic, inquiry, improvisation, construction, essay, reflection, and discrimination that the artistic process has revealed in this problem of dead animals is evident; explores the knowledge that occurs the causes of dehumanization and that the sociological data that operate in the relationship with the otherness of the spiritual thought of people who transit in public spaces.

The research alludes to the "potentiality and aesthetic diversity of augmented reality (AR) art through the creation and exhibition of hybrid digital artworks", being a technology that allows superimposing virtual elements on the tangible real world. The objective proposes a set of artistic pieces that demonstrate the potential of the RA to dominate the future of the visual artistic field, affirm its creative scope, reaching a wider audience and consolidate it in an artistic genre. In response to the formulated problem. How to demonstrate, through the creation of digital hybrid artworks, the potential of Augmented Reality (AR) to dominate the future of the visual artistic field, given its iconographic diversity and its innovative and interdisciplinary hybrid aesthetic? By appropriating, deconstructing and reimagining architectural symbols, religious references, technological syncretisms and cyber aesthetics, alluding to the most representative icons of three of the main cities of Ecuador such as Cuenca, Guayaquil and Quito. ¡ A new way to see art! It can be concluded that, in art, AR is increasingly being used as a visualization tool, but not as a means of creation to form immersive and interactive experiences for the viewer as proposed, demonstrated and referred to as AR art in the present work.

This research is a study of the clown and some of its principles and tools in order to reveal its language and use it to create scenic works. Based on the chairs of the Laboratory of Creation and Assembly I, II and III of the Dance - Theater career of the University of Cuenca, a method of theatrical and dance composition has been developed that seeks to create stage experiences through the use of language of the clown, works that can relate to the viewer in the same way that a clown does, resulting in the works: Cuando las palabras sobran, Yerma O y Una Flor Amarilla, presented between 2019 and 2022 for artists and the general public.

This research-creation has motivated the author to propose from the visual arts an aesthetic environmental approach a social awareness, regarding the environmental crisis produced by the livestock sector.Through an aesthetic experience in contemporary languages, in which more sensations than exclusively visual ones are enhanced, opening a space for reflection towards respect for the natural environment, the important role of the environment and thus try to eliminate the inappropriate and indirect use of human beings on natural areas to preserve a healthy world for future generations. For this reason, the project poses the following problem: How to demonstrate, through the representation in an artistic work, the current ecological crisis of the 21st century caused by the livestock sector, in order to raise social awareness? This work reflects the negative consequences of the livestock sector through visual representations that point to the loss and impact on biodiversity. Issues such as deforestation, desertification or degradation of soils when using fertilizers and chemical fertilizers that negatively affect the life of the soil to support the great ecosystem of human beings.

The present degree work deals with the exploration of the interstices that arise in everyday life with an approach to the object and everyday space that proposes a questioning look, as an articulating axis, the study of the interstice as a habitable possibility to symbolize new poetic narratives that allow to be mediators and enable new concepts that bring us closer to a dwelling with the environment. Art transcends the everyday and discovers the way to represent states from a transforming look. From an exploratory research, dissecting for the object and drift for the space are used as devices, as ways to find the various interstitial classifications that are represented in the framework of an artistic photobook.

The present investigation was directed to the study of an object in constant migration under the approach of Ana Alvarado, being a practical theoretical study, based on the use of the marshmallow as an object and center of the staging, for this an investigation has been carried out of the worldview proposed by Ana Alvarado, who presents the migration of the meaning of objects within the object theater, this principle starts from the idea that any object on the stage can start from a conceptualization or utility but this can acquire others in the As the context and the direction given in the scene change its meaning, so the marshmallow may originally be a traditional sweet, but in the play it can become a snake that interacts face to face with the actor. It should be noted that the interaction of the object on stage is the product of the manipulation that the actor produces, using it to tell the story, however, the object can also exert manipulation on the actor, by influencing their decisions, positions or postures, for what exists a two-way relationship between them and mutual influence. The empirical part of the research was carried out with the development of a video-recorded exercise, in which interpretive sequences were performed where the migration of the object's sense was visualized, from its ductility, change of physical state and the manipulated-manipulative action between the marshmallow that after going through the modeling process in the hands of the actor, turns into a snake that interacts with him.

The present investigation analyzes the first movement of G.B. Viotti’s concerto NO.22 from a comparative and an interpretative point of view. The first chapter features Giovanni Battista Viotti’s composition as well as his influence on the technical development of the violin; later on, a formal analysis-drawn from Jean La Rue’s text on musical elements (acronym in Spanish, SAMeR)-is presented. A comparative analysis between two musical editions of the concert, namely, form Ferdinand David (1810-1873), and Gaetano Fusella (1876-1973), as introduced. Through this investigation we notice a change in suggestions (that have varied over the years) of how the musical interpretation ought to be played; this in turn will help us make musical and technical decisions four our interpretation.

The present research proposes a set of parameters for the production of artifacts as an alternative for spatial expansion in painting, which is understood as an area that is redefined beyond its materiality and support. The means presented for this purpose seek to evidence contemplation and exploration as active operations for the recognition of the aesthetic experience behind the languages and motives of an artistic work. We started from an experimental production that advances hand in hand with a bibliographic research on the window as an element and pictorial motive for the disposition of the observer to the study of reality captured under an aesthetic intention. The objects presented are the result of the exercise of the constructivist theory of creativity, evident by their formality, which invite the viewer to a more active inquiry and selection.

Technological progress promotes the creation of new tools for the development of various activities. Architecture, not exempt from that, shows several new digital instruments that allow the graphic representation and development of the architectural project. Authors point out that, although it is believed that technology will enable the creation of new modes of representation and transmission of information on how a project is built, it is impossible to deny that architecture is thought and originated from the drawing. And it is well known that the architect will always opt for that graphic “scratch” that the sketch represents and that allows him to anticipate what the building can become. Thus, this study aims to identify the principles that the architect of the modern movement, Le Corbusier, transmits with his sketches in the initial stages of the architectural plan and their impact on the final project. For the development of this research, an initial documentary investigation will provide guidelines and general concepts related to the sketch that result essential for the understanding of this document. Then, the evolution that Le Corbusier went through throughout his training is documented, which serves as a premise to understand him as a person and his work as an architect. Finally, we proceed with the analysis of five projects designed by the architect, which have been selected as they have become representing epitomes in his architectural work. The projects are analyzed in three stages that allow us to understand the background, the evolutionary process of the sketch, and its subsequent impact on the built element. From the analysis of the sketch, the role that it has had is understood, not only as a graphic element of architectural representation but also for its importance throughout the design process. In fact, the drawing and its meaning have become something fundamental. Even though at first glance it might look just like a few scratches, a drawing keeps

The latent noise in the Historic Center of the city of Cuenca has increased to high noise levels due to the increase in vehicular mobilization and the population present in central areas of the city at certain times. The present investigation results in an artistic noise proposal based on the manipulation of ambient noise recordings that starts from a historical, social and cultural context. Through research, it is possible to identify the factors that determine the importance of noise as an artistic language that refuses to be part of the art world.

The present work of digital painting, part of the research modality for creation, systematizing the modus operandi and the aesthetic elements that characterize the Black Paintings of the years (1819-1823) by Francisco de Goya (1746-1828), having as purpose its recontextualization in the Ecuadorian context of 2020. For this, an investigation of the tragic events generated during the COVID-19 pandemic. Will be carried out, information that will serve as the basis for the creation of a series of digital illustrations. Using the documented resources that exist around the reference artist.

This thesis project involves the memory of the construction of the artistic project Oxygen, a project that consists of a series of photographs of collages made with plant leaves, flower petals and handwritten letters, also showing the result of deterioration of these organic collages after spending weeks in a press and being exposed to sunlight. The photographic record of the transformation from organic life to death in these collages aims to raise reflections about being, about the emotional fragility in the human being and its relationship with the acceptance or rejection of their own finitude. This document records the artistic background, the observation and experimentation methodologies used to achieve the result of the final photographs, and mainly to highlight the transition between the distinctions of the Coaching discipline, the visual distinctions and artistic distinctions that exist inherent as the engine of the work, thus exposing a new way of knowing, exploring and experimenting within the creation process.

This artistic proposal, centered on the line of Object Art, starts from the historical understanding of the relationship between the Ecuadorian State and the Indigenous Peoples and Nationalities, in order to build on this understanding (whose key elements are condensed in this artistic proposal); an element that incites the spectators to understand this complex confrontation, whose tensions do not find a definitive solution under the parameters established historically in our country. In "The Resistance of the Invisibles", the permanent hostility between the People (indigenous sectors) and the State is explored, with the aim of highlighting, through a playful object (Table Football), the setbacks that the governments have caused by their inadequate handling of power in relation to the popular sectors. This scenario is not strange to the Ecuadorian population throughout its history, given that the interaction between the political, economic and social spheres has been a conflict that Ecuador has carried with it since its very consolidation as an independent state, and even finds its roots in previous processes framed within the framework of colonial exploitation.

The picturebook became an important tool when trying to develop a linking for reading, since the middle decades of the last century, because it entertains at the same time it educates the reader, in a simple way. Addressed to children, young people and adults, it’s obvious that the public that benefits from this literary and artistic product is variated. By combining the written word with the visual image, it becomes an attractive resource to awake a certain curiosity for trying to re signify symbols. This project tries to take advantage of the historical investigation about the picturebook, that origins from children illustration, analyzing its most important artistic references and counterparts; to create a picturebook that recreates the children’s story The Shepherdess and the Sweep, by Hans Christian Andersen, in an Ecuadorian context. The final artistic product will try to rescue one of many literary works that had been neglected by the current public, giving it a fresh look to this “old” story; also, trying to recreate characters, sceneries and circumstances that will relate, in a subtle way, with the current Ecuadorian people.

This research is focused on the creation of a musical arrangement in the Fusion pop genre. It was inspired from the style of the band called Dirty Loops. For its creation, it was necessary to analyze and identify the characteristics that this band applies in its creative process, such as melody, harmony and rhythm. In the first chapter, prior to the arrangement process, different techniques were investigated to know what can be applied to each of the musical elements: melody, harmony and rhythm, taking into account Genichi Kawakami as a reference. In addition, Margarita and Arantza Lorenzo de Reizábal were considered as guides for the analysis process of the melodic, harmonic and rhythmic sections. In the second chapter, two analyzes were carried out on the song called Rolling in the Deep. The first of them was the version of the singer named Adele, and the second one was the Dirty Loops´ version, which allowed to identify the resources applied by the band. Once the information was collected, the arrangement of How Long song, and its analysis were elaborated through the resources presented in the Dirty Loops arrangement proposal.

Throughout the history, the Latin American region has been the scene dispute between the great hegemonic power, both for its immeasurable natural wealth and, for the strategic importance in the achievement of political, economic and military interests. Thus, after numerous liberation struggles in search of autonomy, the post-independence subjugation remains in validity, limiting its possibilities for growth and development. Can we consider that Latin America is independent? This question intended to be discussed and represented throughout this degree work through the elaboration of contemporary artwork, where the material and the conceptual content are related to personal interpretation from historical events that reflect the lack of freedom of the region.

The representation of women within the pictorial works has been charged with a particular visual force through the ages, that is why in this article the female representation in baroque works present in Cuenca is analyzed, being without a doubt, the Movement with the greatest influence in this city. This analysis leads us to the result of a photographic catalog, whose photographs have been subjected to an intervention by means of brushes and digital touch-ups that will bring us closer to the works, as well as allow us to demonstrate women in their roles through their staging. in paintings that have been affected by the passage of time but that nevertheless, by making use of digital restoration, managed to be disseminated through an exhibition catalogue.

This search was made from the necessity to know the current state of 20th century Cuenca Photography, it takes world photographic history as its starting point to investigate the history of Cuenca photography by highlighting and discovering the historical facts that shaped it, it also reviews key photographers in their development, presenting a brief biography that combines with the photographic styles of the authors present in their photography works. On the other hand, my search presents the types of photographs that existed, so I divided them in two large groups, the first group refers to the photography of people in general, which includes portraits and events where they are participants, and the second is about building photographs that handle in the architectural field, focusing on images of churches and civil works, highlighting parks, squares and markets. In each category, a study was made on the development of photography in these branches and what inventions changed its artistic currents. From these outlines, the Photobook called Photography of Cuenca of the 20th century was elaborated with a vision from unpublished and little-known photographs, which is a compilation of photographs of Cuenca during the 20th century, with the contribution of private collections and institutions of this city, where the rescue of these is prioritized. Based on the criteria discovered, images were chosen that show the evolution of photography, such as changes in its artistic tendencies, evolution of the photographic composition and the appearance of new photographers since this is essential to save the visual memory of people, it has been divided into relevant categories for an easier reading. The photobook will be kept in a publicly accessible web page so that it can be downloaded and widely distributed.

This work consists of creating characters based on the concept of Dissociative Identity Disorder, formerly known as “multiple personality disorder”. This construction is mainly supported by physical work based on a creation tool whose exercises address the levels of tension in the body, dissociation and movement qualities, to later combine it with the knowledge acquired from a psychological research on DID and a artistic reference on the subject. As a result, a unipersonal work called And the other what? is obtained, which shows the interpreter in a conflict with their personalities (characters) for wanting to be a single individual.

The present degree work is oriented to the realization of three musical arrangements of two Ecuadorian rhythms, such as: albazo and pasacalle, to merge them with the musical elements of rock and thus achieve the dissemination of national music through the arrangements written for this format contemporary rock band. For this, the works of the Ecuadorian composers Carlos Rubira Infante and Rubén Uquillas have been selected. Before starting with the arrangements, an exhaustive historical investigation is carried out on the two Ecuadorian rhythms and the rock genre, all this including their rhythmic, harmonic and melodic characteristics. Then, the authors Walter Piston, Samuel Adler and Kawakami are taken as references, the latter conducting a study more focused on the arrangement of popular music, in order to strengthen knowledge regarding existing arranging techniques. Next, the original works are analyzed and then the three arrangements are made and analyzed. For the analysis, we proceed to review the book "Analysis of musical style" by the author Jan LaRue, which is based on a qualitative analysis of harmony, melody and rhythm. Finally, we attach the scores of the three arrangements made for this titling work.

The present degree work consists of an interpretative proposal in which the study of the work for Violin and Orchestra entitled "Introducción y Y Yumbo Op.18 No.1" by Ecuadorian composer David Diaz Loyola is approached. The focus of this study is on the technical processes for the performance of national music for solo violin and orchestra. It should be emphasized that in approaching the study of national music, the technical aspects of interpretation of the instrument have not been lost sight of. Finally, it is important to mention that the resulting interpretative proposal has been possible thanks to a formal- structural analysis of the work.

This thesis work is aimed at the critical analysis of the artistic praxis of Nelson Román, who together with his group Los Cuatro Mosqueteros burst into the Ecuadorian plastic arts with new visual proposals. In this way, a historical research was carried out to understand the social, political, economic and cultural context of Ecuador between 1930 and 1970, in order to understand the changes in aesthetics and discourses promoted by his paintings. At the same time, it was necessary to use an approximate analysis of the discourse present in the visual language of his works, where semiotics and hermeneutics mediated as a bridge for the analysis of the set of codes that derive from the social and ideological position of the artist. Likewise, a chronological survey of his creations was carried out, to then perform a critical, iconographic and iconological analysis of his artistic praxis, in which the most recurrent traces and symbols were extracted for their interpretation. Likewise, an attempt was made to highlight the symbolic, aesthetic and ideological universe in his relationship with color and graphic and aesthetic resources used by the artist to compose his language of rupture as well as of approach to the primitive, having as a base his ugly and figurative style in which he tries to conceptualize the ideas of resistance, authenticity and irony.

The objective of this research work is to prepare an a cappella choral songbook through arrangements by Ecuadorian sanjuanitos, directed to youth choirs. The works selected for the elaboration of the arrangements are the sanjuanitos: “Palomita cuculí” by Francisco Paredes Herrera, “El comisario municipal” by Segundo Bautista, “Chiquichay” by Rubén Uquillas, “En mi chocita” by Gonzalo Mendoza and “Los compadres ”By Marco T. Hidrobo. This work consists of the elaboration of five a cappella arrangements for youth choirs made up of three voices with prior vocal preparation: soprano, contralto and baritone. The creative process of the elaboration of the arrangements is exposed in order to achieve a greater understanding of the musical discourse, all this based on the theoretical concepts about choral singing and sanjuanito

Throughout history, music has changed, fused, adaptedand resurfaced in new musical genres. In Ecuador, at the time of the Spanish conquest, the music of the Incas (such as the yaraví), which more than an artistic expression was part of different rituals; it merged with European music. This miscegenation hasnot stopped and continues today with new musical genres.The present work aims at the creation of four musical works, using the fusion of rhythmic and harmonic elements of various genres of popular music including traditional Ecuadorian; cumbia with yaraví, rock with albazo, reggae with sanjuanito and ballad with tonada.It was necessary to use bibliographical data sheets to propose a definition of popular music and the historical context of Ecuadorian genres plus the explanation and application of the methodology of Jean La Rue (1989) for the analysis of compositions.The result obtained was the composition of four musical themes that have forms and styles of popular music in both foreign and Ecuadorian genres with their own style. In conclusion, it meant the creation of musical works that serve as an aesthetic and methodological guide for future compositions that make use of the fusion of universal and traditional Ecuadorian styles and genres.

The present work is about the analysis and technical edition of Insomnio, a string quartet of the composer David Tinitana Ortega through the explanation of string quartet in the history of music, also life and work of the composer and the Ecuadorian genres in the work.

The present research tries to reflect on the commemoration of the memory through objects, starting from the analysis of the concepts: individual, collective and historical memory, through a philosophical point of view, understanding that memory are facts that they can be transferred to the present through different social frameworks. With the philosophy of Halbwachs, the relationship of individual and collective memory is appreciated through the interaction between a social group, there is also evidence of the culture and identity that supports the continuity and history of a population, each society has its own history that narrates your most important events. The objects are vestiges that embody the memory of the human being allowing to build and maintain the history of humanity; art has used objects as a fundamental tool to transmit real events of a society adapting memory and objects in different artistic expressions capable of transmitting and remembering the memory of the past. For the creation of the final work, several artistic references have been taken into explanation that have based their works on the aforementioned concepts, the final result is to create an artistic work through the use of objects belonging to the deceased people of the community “Santa Teresita - Tarqui”, in order to reactivate and remember the memory of some exemplary characters of the community.

[ES] La presente comunicación, plantea las posibilidades de la creación de cartografías de autoría colectiva como espacios reflexivos. Las cartografías visuales representan un recurso versátil y contextualizado al trabajo reflexivo que se puede hacer con diversos grupos humanos, en este punto se puede comprender que el trabajo cartográfico además de representar la construcción de una obra artístico visual puede ser una reflexión colectiva que involucra el territorio, las experiencias personales y los contextos diversos. De esta forma la experiencia de cartografía visual reflexiva es también una cartografía social y participativa (Barragán, 2016). En este caso se presentarán dos experiencias en contextos de aprendizaje formal tanto escolar como universitario: el primero sobre reconocimiento de autoridad femenina en los procesos de aprendizaje en una escuela pública para mujeres y el segundo sobre la configuración de identidad docente en el caso de estudiantes de pedagogía LGBTI+, ambos en Santiago de Chile. De esta manera las cartografías se transformaron en un re-conocimiento e intervención del territorio desde su apropiación llevando a cabo bordados colectivos en tela como botones e hilos donde iban marcando hitos relativos a los temas propuestos al principio de la actividad. En el caso de la escuela fueron trazando lugares de aprendizaje entre mujeres, simbolizando a estas con botones, las que interactuaban según sus lugares de residencia en el mapa de la ciudad, lo que evidencia la ocupación de los barrios y los lugares donde existe interacción en femenino. Mientras que por otro lado en la experiencia con el estudiantado LGBTI+, las interacciones en el territorio estuvieron dadas por sus propias trayectorias de vida desde los conflictos con el yo, reconocerse parte de la diversidad sexual y sobre todo los lugares que representan el miedo., [EN] This article raises the possibilities of collaborative cartographies creation as spaces for reflection. Visual cartographies represent a versatile and contextualized resource to the reflexive work that can be done with different human groups. At this point it can be understood that the cartographic work besides representing the construction of a visual artistic work can be a collective reflection that involves territory , personal experiences and diverse contexts. In this way, the experience of reflexive visual cartography is also a social and participative cartography (Barragán, 2016). In this case, two experiences will be presented in formal learning contexts, both at the school and university level: the first on the recognition of female authority in the learning processes in a public school for women and the second on the configuration of teaching identity in the case of LGBTI+ students of pedagogy, both in Santiago de Chile. In this way, the cartographies were transformed into a re-knowledge and intervention of the territory from its appropriation, carrying out collective embroidery on canvas with buttons and threads that symbolize milestones related to the themes proposed at the beginning of the activity. In the case of the school, they traced places of learning among women, symbolizing these with buttons, which interacted according to their places of residence on the map of the city, which shows the students territorial distribution and those places where female interactions occur. While on the other hand in the experience with the LGBTI + student, the interactions in the territory were given by their own life trajectories from the conflicts with the self, recognizing as part of the sexual diversity and especially the places that cause them fear.

[EN] The present final degree work summarizes the field of possibilities on the Internet when promoting the artistic work of own production. Briefly details the theoretical and practical framework analyzed, the corresponding information and strategies for dissemination and distribution in those offered by the networks so that the artist promotes his work by himself without third actors, with mechanisms studied at work. It deals with the practical process of promotion, applied during the determined period and the goals achieved as a greater performance when connecting with the viewer and consumer of the proposed artistic product and proposes new ones to continue developing the idea. It offers the self-promotion plan to the artistic community that wants to promote its own work with a systematized and effective mechanism., [ES] El presente trabajo final de grado resume el campo de posibilidades en Internet a la hora de promover la obra artística de producción propia. Detalla brevemente el marco teórico y práctico analizados, la información correspondiente y las estrategias para difusión y distribución en aquellos que ofrecen las redes para que el artista promocione su obra por si mismo sin terceros actors, con mecanismos estudiados en el trabajo. Aborda el proceso práctico de la promoción, aplicado durante el período determinado y las metas conseguidas como mayor rendimiento a la hora de conectar con el espectador y consumidor del producto artístico propuesto y propone nuevas para seguir desarrollando la idea. Ofrece el plan de autopromoción a la comunidad artística que quiere promocionar la obra propia con un mecanismo sistematizado y eficaz.