Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

L’articolo cerca di mettere in evidenza l’eredità del mondo antico presente in due fra i più antichi racconti della nascita di Gesù: il Protoevangelium Jacobi e il Liber de nativitate Salvatoris, appartenenti alla categoria degli ‘Apocrifi del Nuovo Testamento’. L’obiettivo è mostrare come questi testi abbiano combinato cultura classica e patrimonio biblico e come, anche per questo, debbano essere considerati produzione colta.

From the very beginning, museums and the audiovisual industry of television have nurtured the institutionalization process of video in the art domain.On the one hand, the influx of museums has been paramount when it comes to legitimating avant-garde discourses. However, they always showed misgivings in the face of certain practices supported on technology reproduction or “outlying” its coded space along the lines put forward by the video produced by artists.On the other hand, the domain of artistic creation, inasmuch as it belongs in the social sphere, has not been able to stay away of television’s influx and its powerful information, iconic and linguistic flow, just in the same way as contemporary creation has influenced the phenomenon of television.The paper “Coming to the terms with the frightful parent: video art and television” produced by John Wyver, historian and TV producer, as well as professor at the University of Westminster, provides the basis to study the way in which cultural criticism in the eighties exerted an influence in the development of the links between video art and television. This interaction in the form of some sort of domestic tension paved the way for the institutionalization of video production in the terms acknowledged nowadays.

The fifth and last string quartet of the great composer, musician and poet Giacinto Scelsi, written in 1984 in memory of his friend Henri Michaux who has just died, which is his last work, stripped, austere, is based on a Fa that fades between a white noise, and that reappears at the end in a vibrato that is the composer’s last breath. His music, Michaux will say, «is magnetized by the ineffable». This quartet constitutes an austere and naked funerary wake, with an overwhelming effect, a testament of Scelsi himself. The composer and poet die two years later than Michaux, taking with him all the secrets of his creation. Song of the swan that precedes the final silence of death, symbolized by the two empty, white pages that close their poems. These white pages constitute in Mallarmé a self-referential Nothing: «Sur le vide papier que la blancheur défend». The viaggio al centro del suono to which Scelsi aspired leads the musician poet to the death of the verbal images and the return to silence of the white surface of the page: «suddenly the white surface», he writes in one of his poems. Annihilatio mystica in the form of a blank page that in the three authors –Mallarmé, Michaux, Scelsi– leads to a wisdom of emptiness.

The aim of this article is to point out the structural coincidence between Pablo Picasso and Sigmund Freud in two matters. Firstly, in the ways of analysing and creating images based on the principles of oniric elaboration such as displacement and condensation. This fact makes it possible to propose a reading of the works created by Picasso after the First World War from a retroactive temporality that would link them not so much to a return to order but to a conception of the image close to the surrealist poetics. Secondly, this article points to another structural coincidence between the two authors that is paradoxical: the construction of modernity in both is produced through recourse to the mythological signifier.

This personal research understands the concept of acousmatic as a contemporary praxis in sound art. This ancient Pythagorean practice, -utilized to a strange sound, - shares the essence of nowadays virtuality. As devices’ screens for example share features and processes with the old Pythagorean curtain. Although acousmatic practice avoids any visual representation, and hides the internal functioning of communication, behaving like a black box. External stimuli directly affect it, triggering sound-image feelings and emotions that are (un)known to us. Rather than investigating the response triggered by these inputs, the research aims to analyse the internal resonances of these black boxes. The more complex machines become, the simpler our relations to them are. The devices and formats used in sound-intermedia practice act as “black boxes”, but this apparent “blackboxing” caused by the use of the technological in the codes of the sensible performs as a catalyst for the apprehension of sound and its esthesic exploration.

In June 2019, the Vértices Platform organizes the Seminar “In Trans-ito, Between the scientific expedition and artistic drift”, in the Nautical Faculty of Barcelona as part of the commemoration of its 250 years. They are bringing together artists and scientists, to open a dialogue and exchange between different disciplines, returning to the tradition of scientific expeditions of the nineteenth century in regards to their multidisciplinary nature.

Visual essay and contemporary practices in the Spanish state. 16 looks at video art.

Cuatro fotografías en papel baritado, Canson. Medidas variables. Anaglifo.

List of the names of the reviewers of the articles published during the year.