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

This essay analyzes different approaches to war photojournalism, understanding that each view puts into operation a political reading of these events. The proposal is to take into account a visual pedagogy because every visual regime is always a political regime.

This article will display some considerations on the image temporary settings; its influence on the individual and collective imaginary due that pictures inhabit a thickness on thoughts and have the possibility to appeal the sensibility.

The contemporary visuality manifests a huge impact on the sensible and the intelligible. Therefore, it requests to assume it as a theoretical object. All the articles assembled here develop a profound analysis of the visual turns and its prospects.

In Mexico, soccer becomes a passion for many fans, and the culture surrounding this sport is represented by the expression of batons, attendance at stadiums and social gatherings with family and friends. It is the graphic identifiers of the teams and their identity in the shirts that project the essence of each team, causing a strong identification of the fans with their team, fostering a sense of intense belonging to them. This is a phenomenon that few companies can achieve so reliably in the mind of the consumer and even get to awaken an indescribable love. This document documents the evolution of the graphic identifiers of the five most representative teams of Mexican soccer according to the magazine Forbes, Mexico 2018 that include Guadalajara, Monterrey, América, Santos Laguna, and Tijuana, and some of the effects that they produce in their followers.

Currently, the game is analyzed as an important element to motivate the interaction of users in different types of environments. This analysis has resulted in promoting different strategies to adapt elements of games and video games in contexts that are not designed as such, but in which it seeks to stimulate the participation of users. One strategy when applying game elements is to consider a user experience-centric model. However, to establish a game design in contexts where the collaborative aspect prevails, it is necessary to address specific strategies focused on your relationship with the community to which you belong. This article introduces the design of a gaded environment based on the G.A.M.E. conceptual framework for gathering, analysis, modeling, and execution, applied to a collaborative building community of knowledge of Good Horticultural Practices, complemented by a physical interface conhecimento de Boas Práticas Horticulturais, complementado por umainterface física.

In recent years, some recurrent forms of excess have settled in the video game. An already common modality involves the exacerbation of the ludic dimension: games propose challenges that are increasingly difficult to overcome. The tension between this new production and the mainstream offer suggests the stabilization of operations related to overflow. In other realms of culture, operations of this type have been analysed in the light of the aesthetic category of the sublime, mainly since the baroque in artistic languages. An area of independent video game production is conveying ludic excesses through different textual strategies, as seen with the expansion of Souls style, I Wanna be the Guy or Kaizo Mario games. From a semiotic perspective, the main innovation of these games is related to the regularization of an opaque enunciation that breaks with the expectations of the genres and the mainstream design and makes the discursive mechanisms explicit. This opacity is particularly evident in the visibility of an omnipresent enunciator, whose work is constantly revealed in the overabundance of challenges, traps and puzzles that the games deploy. This communicative displacement is a great novelty in the medium's offer, where traditionally enunciative transparency seems to have dominated.   

Recently several studies have explored the limits and possibilities of videogames as expression of globalized cultural industry but also as a resistance point to capitalism. However, these conceptualizations often omit fundamental features of videogames as apparatuses (dispositifs) or assemblages (agencements) of contemporary societies as well as their relations with modes of subjectification forged in engagement (refrain). Our proposal will recover the elements that allow videogames to be studied as condensation of sign regimes (images) and materialities by identifying the lines (molecular, molar and abstract) that compose (re/ territorialize) digital video game assemblages (intensive semiotics of spatiality, mechanics and gameplay), as well as their possible lines of flight (deterritorialization). Likewise, if our analytical model finds its theoretical foundations in French post-structuralism, this paper will rely on the main contributions of applied ludology. Therefore, our paper will present a empirical analysis (comparative grids) on a corpus of 45 developments produced between 2010 and 2016 in Global Game Jams of the city of Santa Fe.

Festivals and exhibitions in the video game industry feature proposals that incorporate object elements, although games are increasingly downloaded from dedicated platforms. These works explore the interface and in some cases extend into the exhibition space as installations. This work explores the potential of objectivity and its inclusion in videogame-related events, considering the possible routes and loans of works, games and artists between the worlds of art with technology and those of videogames. The pieces that we will consider for the development of this proposal are Line Wobbler, Star Searcher of Dreams and KIDS, productions with different materialities that were exhibited in Buenos Aires in the exhibition Game On! 2019, a space that has the particularity of gathering works that are related to gameplay from different approaches.

In this paper we analyze a transmedial journey that ends on the creation of a new genre, the LitRPG (Literary RPG). This process begins in the seventies when certain literatures and prominent authors, like Tolkien, Lovecraft, Moorcock, Howard et al., are interactivized with the creation of the first RPG (Role Playing Games). Later, with the appearance of the new cybernetic platforms, these games are transmediated to give birth to the CRPG (Computer RPG), MUD (Multi User Domain/ Dungeon) and finally the MMORPG (Massive Multiplayer On Line RPG), whose logics and discursive characteristics appears abruptly in the literary field through the LitRPG novels, generating a return to literature while being deinteractivated. Apart from the analysis of the transmedia process, we analyze some of the main characteristics of this genre by reading four authors deemed the pioneers of the genre - D. Rus, G. Akella, V. Mahanenko y Yu Wo. We will also look upon how these characteristics are presentin certain precursors, (in the sense of Borges’ “Kafka y sus precursors”).

The current work analyzes, from a cognitive perspective, the positive effects of playing video games and studying the cognitive effects resulting from the interaction between the video game and the player. Then, it is investigated how video games can be implemented in the clinical context (non-recreational environment) where entertainment is not the main purpose. The article consists of three parts, the first one analyzes the interrelation between Psychology and videogames, the second one is dedicated to cognitive effects and in the last part, different proposals made in the clinical field will be reviewed. It is concluded that cognitive benefits are generated through interaction with video games.