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

The problem of how people or groups differ from one another is a recurring theme in the study of the circulation of socially significant objects. Within that great problematic, the analysis on the distinctive relation with the cultural goods in the contemporary modern societies found in the work Distinction of the French sociologist Pierre Bourdieu one of the most systematic analyzes. This work has two objectives. First, reflect on Bourdieu’s work as one of the most sophisticated synthesis of the functional analysis of the relationship with objects in contemporary modern societies. Secondly, starting from the example of the ways of attachment with musical and spiritual objects in emerging ways of life of the middle sectors of Buenos Aires, it also intends to reflect on the exchange regimes between objects and people and the native theories of their functioning, delineating possible alternative and complementary paths to a functional definition.

The aim of this article is to describe the process by which a group of costume designers are recognized as brands by other fashion agents with whom they are linked to make and display their seasonal collections: modelers, marketing consultants, stylists, fashion producers and owners of multibrand stores. My purpose is to understand in what ways, in the course of this process, the designers incorporate the “calculation” in their conduct as an ethic that, as defined by Pierre Bourdieu, is constitutive of the capitalist economy and implies the temporary perception of the future distanced from the immediate present that characterizes precapitalist economies.Taking into account my ethnographic field work carried out between 2005 and 2018, I will analyze how they apprehend such ethics when marketing the collections, in spaces such as retail venues, multibrand stores and biannual fashion events.

This text presents a teacher´s experience in the Social Communication Teachers Program, in Universidad Nacional de Córdoba. We analyze this experience through the notions of exploration and multimodality. We propose, as a theoretical frame for this experience, an approach to the multimodality conceptual field, which recovers central ideas for the social communication field. In second turn, we share the main features of this experience and a brief theoretical and didactic approach to it. We also present productions made by the students, as well as their own voices on this process. Finally, considering the previous conceptual developments, we share some orientations that we find useful to organize the teaching work of (future) teachers in Social Communication, as a contribution to a didactics of social communication.

this essay will investigate the leading role of female directors, programmers and curators of Argentine Experimental Cinema and Video Art. Their material will be analyzed both, in the filmmaking of audiovisual work and in their roles of programmers of theaters, museums and cultural centers where space for the dissemination of Argentine experimental audiovisual has been devoted. Several cases will be mentioned, though only historical periods of creation and consolidation of the experimental cinema and video art will be specifically analyzed. In spite of multiple political and cultural contexts, activism among these female directors is a common factor as regards women rights within audiovisual business. The names of prominent women in both cases are as follow: Marie-Louise Alemann, one of the pioneers of experimental cinema. She organized ‘The Argentine Experimental Cinema Group’ on the premises of the Goethe Institute and was in charge of the programming of this film archive between 1979 and 1985. This hub showed films by Rainer Werner Fassbinder, Alexander Kluge, Edgar Reitz or Wim Wenders. Alemann was born in Germany in 1927 and settled down in Argentina in 1949. She was a photographer, journalist, stage actress, and painter. In 1967, when the Di Tella Institute of Arts was being fenced by the dictatorship of Juan Carlos Onganía, Alemann took part of a happening, together with Walter Mejia and Narcisa Hirsch, at the premiere of Blow Up, by Michelangelo Antonioni at the entrance of the theater hall. That art intervention in the thouroughfare was documented by filmmaker Raymundo Gleyzer. It was one of the few coincidences between aesthetic and political avant-gardes at that time. Narcisa Hirsch, pioneer of experimental cinema, was part of the same group. “Cinema is just projected light, sheer movement” she vehemently maintained. From an interview (Paparella, 1995:34) Narcisa Hirsch, revisiting one of the basic premises of the Pictorical Modernism, proposed to focus in the very field of materials and cinema significance as a medium at its core. Experimental cinema presented its own essence, it built its object without any narrative intention or diegetic. As for Video Art, in another historic and cultural context strongly associated with technological advancements and with the massiveness of video camera recorders, we will analyze the case of Graciela Taquini. In what refers to the figure of Graciela Taquini, we can say she has been, and still is, a key figure in the broadcasting and exhibition of Argentine Video Art. She is an Argentine artist and curator who has developed most of her artistic production in the area of the Monochannel Experimental Video. Her works have received different awards, among them Premio de la Asociación de Críticos de Arte de la Argentina (Argentina Arts Critics Association Award best script), Primer Premio del Festival Videobrasil (Video-Brazil Festival, first prize), and in 2005 Premio a la Acción Multimedia (Multimedia Action Award).Taquini has been nicknamed “The Aunt of Argentine Video Art” because of her early involvement and interest in that discipline. In 2012 she was awarded the Platinum Konex in Video Art. She is a permanent member at the Academia Nacional de Bellas Artes (National Accademy of Arts). Finally, and in relation to the use of new media, a reflexion will take place about a group of female directors and cultural managers devoted to experimental cinema and video. The case of AREA (Experimental Audiovisual Filmmakers Association) will be mentioned. In spite of not being an exclusively female group, it counts with a Gender Commission where the women’s issue in the experimental cinema and audiovisual is approached at length in a contemporary context.

In the narrative territory, the fable has been established from a male conception since the foundational times of culture. Nevertheless, strong female characters (heroines) have existed from Aristófanes (Lysistrata) to the present day; Joan of Arc, the Celtic Queen Boudicca, Juana Azurduy (Argentine historical character); Mérida from “Brave”, Katniss Everdeen in The Hunger Games, Khalessi in Game of Thrones; female Captain Marvel, Wonder Woman; Beatrix Kiddo from Kill Bill, Trinity in Matrix, Rey the scavenger in Star Wars (who incarnates “The Force” and stands up to the Empire). Hundreds of examples exist where we can find a structural, aesthetic and ethical change which refresh narratives and their fables. Women have advanced noticeably in every field in these past years thanks to the struggle of feminist movements. As a consequence of the permanent quest in search of their social role, and the evident failure of the patriarchal system, cracks in the social structure are appearing. The transformation powered by the Women’s movements traverse the core structure of our society, making itself evident in different aspects of culture, in its more ample definition. The emergence of a new female character -a restricted role model before now- challenges the existing archetypical structures and promises changes towards a new, wider, more inclusive and diverse narrative. In the present day, empowered women’s participation in all social strata is on the rise. This is true for the social, material world and is also observable in the cultural mirror through diverse artistic productions; narrative in film and television, literature, mass media and digital platforms. A democratization process of information, aesthetic and argumentative criteria appears to inaugurate -at a slow but steady pace- a new figurative view of the world. One of the more present, recognizable and active forms is the audiovisual account in which new archetypes of heroic characters, with intrinsically feminine attributes conquer the stories, the audience and box office. If for humanity storytelling has been founding of its own culture, the change in form, manner and point of view, -thus a transformation in the way we narrate- changes the historical conception and cosmovision of the world. The new fable shall not be the like the on before it, neither will it be like its opposite: it shall be a completely different conception, transversal, multidimensional, inclusive and creative. This projects aims to breach dominant ways of thinking and generate a new map in the narrative territory towards the discovery of new worlds.

In recent years, a growing number of projects, objects, programs, artifacts, works and texts belonging to the cultural sphere have, at one or at all stages of the production process, some transmedia component. Practically, there are no actors in the culture and communication fields "who are not thinking about their production in transmedia terms, from fiction to documentary, through journalism, advertising and political communication" (Scolari, 2014). Regarding the audiovisual industry, for example, "transmedia" has become the "magic word" of any project; in fact, "in some moments it seems as if something could not be done in a single medium" (Tubau, 2011). The literary system has also integrated transmedia as an element or an aesthetic process. The story, but also a similar aesthetic, rhetoric or theme, extend beyond the margins of the literary text to other media, each of which does not lose its autonomy and specificity. In turn, transmedia also articulates "modes of reciprocal and procedural affectation between media, languages and technologies", which strongly destabilize their origin spaces (Kozak, 2015): literary texts, which often function as start windows, change in the transmedia process. The following article will analyzed how transmedia functions in two contemporary novels written in Spanish: La muerte me da (2007), by Mexican author Cristina Rivera Garza; and Alba Cromm (2010), by Spanish author Vicente Luis Mora. In addition to describing the transmedia system, the article will emphasized on how transmedia establishes as a core component in the conformation of the novels’ heroines.

El empeño de numerosas etnias latinoamericanas, ha sido la vindicación de las expresiones plásticas textiles en un rango que les es por demás propio, en tanto se someten a la idea de abrir excedentes de significación en lugar de lograr tan sólo la representación o imitación de una forma o un objeto. Los textiles indígenas, además de la caracterización matérica, suscrita a las cualidades del hilo en su capacidad de ser tejido, y a la fibra, en la diversidad de configuraciones de la trama, están condicionadas por lo sobrenatural, lo extraordinario, que está fuera del mundo observable. La artesanía textil ha establecido desde sus procesos tradicionales, innumerables relaciones retóricas, especialmente metafóricas, entre la imagen y la materialidad textil, asumiendo sus características, relaciones contextuales y alternativas de desplazamiento. Son por ello recurrentes, los procesos que llevan al arte textil hacia sentidos míticos, identificados sobre todo con narraciones sagradas que explican el mundo y la humanidad; son ejemplos morales y religiosos, que se presentan como si fueran verdades absolutas e inamovibles en un contexto frecuentemente ritual, y el tabú, palabra polinesia que integra los significados de lo sagrado, lo intocable, lo prohibido y lo maligno, esas ideas que bajo ningún concepto deben ser transgredidas junto al temor reverencial a una fuerza sobrenatural que impone terribles castigos al infractor. Este concepto ha abierto las puertas de lo metafísico y lo ontológico, conduciendo a los artesanos a un profundo ejercicio interpretativo que ha oscilado entre la superstición y la precaución ante lo desconocido, marcando como una constante las contradicciones que ello supone, el sentido de los contrarios expreso en triscaidecafobia-triscaidecafilia, simpatía y aversión, lo profano y lo sagrado impuestos en objetos con una fuerza expresiva única.

The present work will try to review the possible origins of the division between art and crafts, with the aim of detecting indicators that allow us to build a "design history" in the future. This construction will need to go through the facts of history in a different way to separate from the canonical discourses that, at the moment, characterize what we know as the genesis of this discipline. This observation shares the point of view pointed out by Timothy Duckrey (2006) that "History is after all, not the mere accumulation of facts but an active revisionism, a necessary corrective discourse and, fundamentally, an act of interrogation not so much of the facts but of what has been done aside, the forgotten, the overlooked." (p. 8, own translation). From this perspective, a critical observation will be made about the historical process of the evolution of visual communication in order to reveal other ways of glimpsing the beginning of the design activity using writing as a reference model to understand the definition of your field.

This volume explores theoretical models and concrete applications that reformulate the role and the attributes of “heroicity” in different narratives, establishing the Heroine’s Journey. This project including research, analysis, and reflection was developed under the Agreement of Academic Cooperation between the School of Design and Communication of the University of Palermo (Buenos Aires, Argentina) and Columbia College Chicago (Illinois, USA). This collaboration aims at generating a gap within dominant traditional thought by developing an original path for reflection in the territory of narrative. Its intent is to discover new gender role proposals that will open the posibility for creating a richer, more complex, and equal world. All essays in this book have been written with total freedom, and the only stipulation was that papers were thematically relevant. Surely, there are differences in argumentation or stance, which are fully welcomed. The idea of a single and hegemonic line of thought does not have room in our contemporary world, where a gender diversity perspective produces a necessary and liberating shattering towards a more open society

Due that a historical research is not a static knowledge, this proposal works from the interrelation between the gender perspective and the inquiry on images and media between 1940 and 1970 approximately. In this bond it can be found, through a dialectic view, the visibility and representation’s conditions. The photo novel in its interaction text and image, showed the symptom of the agreements and disagreements (both at the level of ideas, feelings and unconscious desires). These publications appeared at a time when the press, magazines and film interrogated and also sketched a new model of woman. The photo novel became a form of enunciation of the existing ideology but, at the same time, a proposition of modification. It will be mentioned also the relationship between photography and cinema at those years.