Reading of audiovisual productions of contemporary art in art education

This article focuses on the reading of audiovisual productions of contemporary art as a creative process, seeking to analyse which effects of meaning the articulations between the visual and sound systems produce, and the meaning that children give to then. It describes a video art, identifying the languages that compose it and the relationships that link them. Such reading exercise had as corpus of analysis the Chair video art, by Masaru Ozaki, and counted with the theoretical and methodological support of the discourse semiotics, especially with studies on assembly procedures that articulate visual and auditory languages. Also, it presents a focal study with the meanings that a group of children gave to the video art. The findings indicate the importance of including the reading of audiovisual productions of contemporary art at school through the problematization of effects of meaning produced by the interrelation between different languages. And they suggest some subsidies that allow teachers from different areas of knowledge to reflect about the visuality in their pedagogical practice; the choice of the audiovisual materials taken to the classroom and other ways of seeing these texts edited.

National Cinemas and Non-Hegemonic Languages. The Invisibility of Galician Language Facing the Policies for Cultural Diversity

In the spirit of the proposals of the Agenda 2020 about the structural role of cinema in the configuration of the European identities, this article highlights the significance of the national cinemas in non-hegemonic languages in the conformation of a diverse European culture. Following this perspective, we use Galician cinema as a case study in which we analyze the presence (or more precisely the absence) of the Galician language in the original version in the feature films released between 2008 and 2012.This proposal is hosted by the I+D+I project eDCINEMA: “Towards the European Digital Space. The role of small cinemas in original version” (Ref. CSO2012-35784) financed by the Ministry of Economy and Competitiveness of Spain.

Indicators on community art practices: some reflections

From the Divercity project, the article reflects on methodology, good practices and indicators useful for community art practices. At first term, social exclusión is defined as well as community art, and which features it presents. Subsequently, the article reviews the indicators that are being used to measure the success or achievement of community arts practice, raising criticism from equality and including indicators that measure the well-being of women.

Performatividad y arte computacional. Hacia una “DIY society”

El artículo analiza la figura del prosumidor desde los estudios visuales a partir de la combinación de la teoría de los actos de habla y los nuevos medios. El objetivo es evaluar si la distinción entre productores y consumidores, estrategias y tácticas de Michel de Certeau continúa siendo operativa en las interfaces gráficas de la cultura global de la información de Scott Lash. Para ello distingue dos tipos de performatividad de los actos de habla: la performatividad top-down del software, y la bottom-up de los juegos del lenguaje y las formas de vida. Estos tipos se aplican al análisis del discurso de los eslóganes que aparecen en los sitios web de las iniciativas “open” y de economía colaborativa, ya que las primeras están dedicadas a la producción de bienes inmateriales y las segundas a la producción de bienes materiales. El desarrollo muestra cómo los dos tipos de performatividad transforman el análisis textual de los estudios literarios y cinematográficos en una metodología capaz de investigar acciones materiales, humanas y no humanas. Las conclusiones describen el surgimiento de nuevas convenciones narrativas de poder y control ajenas a la ficción que apuntan a una “DIY society”.