The soundscape as time capsule: A creative project based on the sounds of the first train station of Cuenca

This article reflects on the changing environment through the passage of time and how certain technologies for a creative proposal allow the preservation and transmission of a significant part of that ephemeral heritage for future generations. The general purpose of this particular project is aimed to achieve the sound synthesis of a specific and representative cityscape as the old train station in Cuenca ���located in the heart of the city��� that could be preserved and reproduced as an unique document of a present time, ascertainable in the future: a memory that interpret sound as a time capsule. This soundscape was made to mark the arrival of the high speed train in 2010 to a brand new station in the outskirts of the city. Therefore, the goal of this research was focused on achieving a synthetic document that provided a sound memory capable of reflecting the significant social, cultural and logistical features, of what was until then the only railway communication symbol in the city of Cuenca from 1883 to the first decade of the 21st century.

Light-color and body-mass. The subjectivity of the Argentinean nation, according to the painting of P��o Collivadino

P��o Collivadino was a highly recognized painter in life, occupying the most important charges in the artistic field and receiving awards in his country and abroad, which turned him into an inescapable reference of young Argentinean artists who earned recognition throughout the twentieth century. Why, then, with the time, his work began to fall to the wayside? In response to this question, the present article, based on the analysis of the work of that artist, proposes to problematize the notion of subjectivity, both in its individual dimension and its national character, underlining the role that the figure of the artist meets for its formation. Developing the concepts of light-color and body-mass, from Collivadino painting, this article will attempt to explain the relation between the emergence of an Argentinean subjectivity, at the beginning of 20th century, and the art, not only at the level of the issues addressed, but, especially, taking into consideration its formal characteristics.

The notion of space in the artistic language of Alfredo Jaar

Conceptual art and communicator role has influenced the work of Chilean architect Alfredo Jaar, which has been proposed report, with other codes [verbal and nonverbal], global events influencing contemporary society. His early training as an architect has driven innovation in the design of artistic space , using the message to convey to the viewer the reason for his work for more than three decades, highlights the artistic composition with various material resources whose purpose lies in conceptualizing various topics relevant in considering the role of artistic communication. Jaar���s style is the sum of his own life experience in relation to the contradictions of the world today, which is exposed and from the perspective of postmodernism from the exploitation of the notion of space as an open stage for visual and expressiveness beyond national borders, societies and cultures of the world.

The portrait of the first poster artists of Spanish cinema: From the genre scene to the realistic portrait

The article, which is part of a more detailed piece of work, aims to highlight the use of the portrait on the film posters of the first Spanish poster artists before the Star-System was introduced in Spain. For this it is posed the evolution that occurs in the representation of the characters in the film poster from the second decade to the beginning of the thirties in the twentieth century, a historical period of profound influences of the artistic and advertising vanguards in our poster artists�� work. However, in the late twenties moving from the simple inclusion of the scene based on the picture of a film, to the chromatic and realistic representation of the star��s face. These were the years when the influence of the major North American studios began to show in Spain. Nevertheless, it highlights their technical and compositional freedom and their influence on subsequent poster artists, as many of them will integrate the portraits and settings on their posters, following the guidelines of the major studios or the independent ones. But without forgetting their own personal way of painting the film stars��� faces on their posters.

Museums and youth: between misunderstanding and disappointment. Youth perceptions and arguments about the cultural consumption of museums in Chile

Young people are less explored in museum audience research; this is a paradoxical situation when considering its strategic location in the cultural reproduction and if considering the high performing cultural consumption compared with other sectors. The phenomenon of museums consumption by young Chileans who are self recognized as public and non-public museums is explored from a qualitative approach. It was conducted with focus groups in the three largest cities in Chile (Santiago, Valpara��so and Concepci��n). They identify the museum as a cultural institution in full force. However, in questioning museums activity youth reveal the specificity of their cultural matrix. This is referred to a social temporality based on the fragment, the discourse of familiarity, proximity and instead of breaking and critical. They claim a museum aesthetic / historical experience based on pleasure and enjoyment. An overview is proposed to further clarify the youth cultural consumption to characterize more precisely the place of the museum in the set, to design more effective policies museums.

About infamy: the filthiness of Art and its diogenic disease

In this paper, we postulate the direct relationship that exists between waste production and artistic objects; its manufacturing system, consumption, and subsequent waste. What arises in this relationship then, is another character of interest ���and that will serve as a reference to compare its modus operandi with the place of artists and the arts���, in this sick world, the Diogenes. The obsessed that lives among the garbage. The absurdity of the conquest of the infinite of the illogical within the logical. The amount clouded and blinded, nothing is enjoyed, nothing is appreciated; the countless abandons its place in the memory ���memorable��� and there only exists a pathological accumulation, mountains of garbage, desires to hold on to vital faith of the belief of doing Something for themselves. Working just to work and building something that will not last, like a sand castle, accumulation of detritus and dust. A new logic is born, the enjoyment of diseases and emptiness, the destruction of a world without a history. ��Artists of the world, abandon! You have nothing to lose but your own professions!�� (Kaprow, 2007, p. 37).

The Architecture of Seduction: An Analysis on Digital Architectures within Consumer Society

Currently new digital tools used in architecture are often at the service of a conception of architecture as a consumer society���s cultural good. Within this neoliberal cultural frame, architects��� social function is no longer seen as the production of urban facts with sense of duty, but as a part within the symbolic logic that rules the social production of cultural values as it was defined by Veblen and developed by Baudrillard. As a result, the potential given by the new digital tools used in representation has shifted from an instrument used to verify a built project to two different main models: At the one hand the development of pure virtual architectures that are exclusively configured within their symbolic value as artistic ���images��� easily reproducible. On the other hand the development of all those projects which -even maintaining their attention to architecture as a built fact- base their symbolic value on the author���s image and on virtual aesthetics and logics that prevail over architecture���s materiality. Architects��� sense of duty has definitely reached a turning point.

El diagn��stico de la crisis de la cultura en Espa��a: del recorte p��blico a la crisis sist��mica

Desde su invenci��n en los a��os cincuenta, la pol��tica cultural ha sido objeto de an��lisis y reflexi��n por parte de las ciencias sociales. No obstante, en Espa��a presenta una serie de caracter��sticas diferenciadoras frente a las democracias occidentales europeas como consecuencia del periodo franquista. Con la recuperaci��n de la democracia Espa��a adquiere el paradigma dominante de una pol��tica cultural democr��tica basada en la libertad, el pluralismo y el derecho a la cultura. Sin embargo, tras d��cadas de gobiernos democr��ticos el diagn��stico de la pol��tica cultural en Espa��a presenta rasgos de crisis sist��mica, adem��s de los efectos de la crisis global financiera de inicios del siglo XXI. En este contexto, los autores diagnostican, aplicando la metodolog��a Delphi y recurriendo a fuentes secundarias, un conjunto de discursos sociales y narrativas que parecen funcionar como recursos cognitivos solucionistas en la esfera art��stica y cultural y que no est��n exentos de contradicciones y apor��as, fruto de su contraste emp��rico.

Some thoughts on Juan Antonio Ram��rez��s iconologic-paranoid method for the study of Dali��s works

In 1990, Juan Antonio Ram��rez made known his iconological paranoiac method to the academic world. It is a system devised to study Dal����s work, born of happy matrimony between the catalonian artist��s critical paranoiac method and the first iconographic school of Warburg and Panofsky. What, at first sight, seemed to be an extravagant methodology with little academic credibility, turned out to be, by going forward in time, an effective research method when analyzing Dali��s initial works. It is no wonder that, at the beginning of XXI century, this hybridization between Dal����s and Panofsky���s methods, were regarded as a strange and nonsensical idea. Nevertheless, twenty years after, blatant examples have been noted, which endorse the advantages of this new system for ���iconographic��� study. As usual, this new contribution by Juan Antonio Ramirez to art history methodology is called upon to have a successful future survival, in forthcoming generations. This article, attempts to analyze this method, inquiring into the validity, effectiveness and practical utility.

Forma y transgresi��n: el discurso del arte

El arte, en sus diferentes campos, desarrolla un tipo de discurso que nada tiene que ver con el de otros ��mbitos. Se vale de combinaciones de elementos diversos, normalmente pertenecientes a lenguajes convencionales, para elaborar un enunciado ��nico y nuevo, donde una idea encuentra finalmente su forma. El contenido y la estructura se fusionan en un punto indisoluble. En este art��culo se plantean las b��squedas de paradigmas cl��sicos de la forma art��stica y una reflexi��n al respecto desde el ��mbito de las Artes Visuales. Se parte de la consideraci��n que durante muchos siglos se ten��a de la representaci��n o imitaci��n de la realidad no solo como veh��culo de la expresi��n sino como la finalidad del arte. Se continua por el foco que la Transgresi��n de Dad�� estableci�� en aquellas formas art��sticas que buscan una conmoci��n emocional para que la creaci��n alcance los territorios ��ntimos del receptor. Por ��ltimo, se explica el fundamental hallazgo de Duchamp de se��alar que es el propio discurso de la obra el que proporciona un nuevo pensamiento al mundo.

Patrimonio e Identidad en la Investigaci��n Educativa Basada en las Artes desde un Enfoque Multimodal

Este art��culo describe dos experiencias de investigaci��n de nuestro grupo interconectadas, la primera desarrollada durante el a��o 2007 a trav��s del proyecto internacional CALVINO del Programa Cultura 2000 de la Uni��n Europea, y la segunda implementada durante el a��o 2014 en el marco del Proyecto Investigaci��n e Innovaci��n en Secundaria en Andaluc��a (PIIISA). Ambos proyectos tienen en com��n el eje tem��tico de la identidad a partir de una idea de patrimonio y el hecho de haber puesto en pr��ctica metodolog��as de investigaci��n basadas en las artes visuales con un enfoque multimodal. Desde estos dos puntos de anclaje relativos a la tem��tica (qu��) y a la metodolog��a (c��mo) analizamos lo acontecido para obtener conclusiones relevantes que, por una parte, pongan en valor estas pr��cticas significativas y, por otra, aporten nuestra experiencia para futuras propuestas de investigaci��n en el ��mbito tem��tico y/o metodol��gico.

El artista contempor��neo ante la transformaci��n de su obra. El paso del tiempo y su efecto sobre la significaci��n de la materia

El paso del tiempo tiene una repercusi��n inevitable sobre las obras de arte. En el caso del arte contempor��neo muchos de los valores est��ticos, culturales o sociales presentes en las mismas, est��n vinculados a la apariencia y al uso premeditado de la materia. La transformaci��n de la materia tiene una repercusi��n sobre la intenci��n y el discurso est��tico, por ello, y ante la imposibilidad de impedir el cambio, se hace necesaria una profunda reflexi��n sobre el concepto de autenticidad de la obra de arte y sobre el concepto de ruina prematura. Por otro lado, gracias a la figura del artista contempor��neo es posible documentar la producci��n actual para determinar si la mutaci��n de la materia afectar�� a lo esencial en las obras. En este sentido, el trabajo ha conseguido concretar, para el caso de varios artistas fundamentales del panorama espa��ol, qu�� aspectos deben, por ser esenciales, permanecer inmutables con el paso del tiempo.

Primitivismo y Feminismo en el arte contempor��neo

Para la mentalidad colonialista del siglo XIX la raza negra estaba provista de una extraordinaria sexualidad y lujuria. En la metr��polis el equivalente era la mujer sexuada, la prostituta. En los primeros a��os del siglo XX este t��ndem, prostituta-colonizado, sirve a los artistas vanguardistas como elemento de confrontaci��n con la moral imperante. Son las artistas mujeres, con una intenci��n feminista, quienes principalmente utilizan el primitivismo asociado a la mujer en su cr��tica a los estereotipos. Figura pionera en ello es Hannah H��ch, especialmente en su serie De un Museo Etnogr��fico, en el que asocia figuras femeninas y objetos de arte primitivo. En los a��os 70 del siglo XX, algunas artistas de la performance, como Carolee Schneemann o Ana Mendieta reivindican el cuerpo femenino con el significado de Origen y Fertilidad que tiene en las culturas primitivas. En este mismo contexto puede inscribirse la escultura Maman de Louise Bourgeois. El elemento de cr��tica social, que est�� vigente a��n en nuestros d��as, puede verse en las obras de las Guerrilla Girls.

Bogot�� arte urbano o graffiti. Entre la ilegalidad y la forma art��stica de expresi��n

La investigaci��n sobre el graffiti relacionado con el arte urbano, el dise��o y la comunicaci��n visual, la cultura social y pol��tica en la ciudad de Bogot��, son temas que concentran esta investigaci��n. Opiniones y entrevistas fueron revelando la influencia sobre la comunidad, la sociedad civil, la pol��tica, y el enfrentamiento radical con la leyes, su clasificaci��n y su exigencia seg��n el estrato social han hecho de los espacios p��blicos de Bogot�� una ciudad con paredes hablantes. Aunque no es tomado como algo malo, -para algunos- vandalismo para otros, despierta en muchos, opiniones diversas y sobre todo una subestimada valoraci��n de los artistas hacia una expresi��n liberal y democr��tica de un sistema que los aleja de cualquier exhibici��n del arte tradicional.