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

This article analyzes two digital communicative strategies of LGBTI collectives during the 2017 electoral campaign in Ecuador. The discursive practices of subaltern audiences, their appropriation of technology and their political actions in the digital sphere are analyzed. Additionally, it includes the expression, style and discursive spaces that these audiences use to discuss their demands in digital platforms. An optimistic view considers that technology and digital networks have allowed an increase of forms of participation and greater visibility of LGBTI movements in Ecuador. From a less optimistic perspective, it is questioned whether these channels are adequate and sufficient for political participation and influence. Methodologically, we focus on the study of the forms of power of the statements. We ask ourselves: What topics are addressed and excluded from digital discourses? What strategies are put into play in these counterdiscourses? Finally, from the perspective of collective action, an approach is made about the complexities of the subordinate public and its emanci-patory potential in an electoral campaign context.

The article presents the experience of the Performing Arts Workshop in Ancón II Model Penitentiary, from the point of view of the artists who facilitate the experience. What senses unfold? What are the creative routes and processes? The artistic experience is embodied as a process that transcends the scene, proposing the production and circulation of discourses and performances from the voice of its protagonists: the young men and women inmates at the prison. The body constitutes the central axis of subjective, discursive and performative production. The authors reflect on the performing arts as the production of experiences and relationships in the context of deprivation of liberty, understanding the processes as explorations and bonds in constant construction, as well as a research space that questions them regarding the meaning of their work and their role as artists.

The events in Argentina during the winter of 2018 (massive feminist groups marched to demand the approval of the Voluntary Termination of Pregnancy bill) invited us, from our places as artists, to emerge from our workspaces. The stage was set in the streets and the concept of art-life was about to manifest itself. Motivated to generate a device that expresses the politics of those who had abandoned their place of contemplation, questioned as individuals and mobilized as a collective, we decided to do an intervention with a performative aesthetic. This essay presents that feedback process between social and artistic performance, a reflection of the expressive and ungovernable limits of the green wave, and answers the call for a deep need to meet each other, taking over the public space, in a symbolic ex-pression of those of us who became protagonists in the construction of our rights. Every woman, all of us.

The article seeks to situate the contemporary debate around the supposed effects of the Internet and social media on politics, in light of the longstanding discussion about media effects. In this line, it draws attention to the persistence of a certain «technical ideology» that presumes a capacity of technologies to directly and decisively influence political and social transformations, to highlight a political debate around institutional and economic mediations, social uses, and cultural mediations in the development of these media.

This article is an analysis, tribute and dialogue with the performance Paso doble by Mirella Carbone. Carbone starts from the autobiography to create presences—becomings—of itself, with which criticizes identity impositions that the classist, colonial, macho, racist, and homophobic Lima demands. A «little man» in white suit and a doll drawn with a chalk by the artist activate the memory, open personal archives and bring important issues to the present. From the non-hegemonic figures that the artist presents, as well as silence and repression, I propose Paso doble as a place of the visible and possible. From the perspective of feminist and decolonial theories, latent issues in Paso doble are approached in order to understand the effects of coloniality—of power, knowledge and being—in the body, subjectivity and steps from the artist.

The present article is a quantitative study of the comments generated and published by users on March 8 and 9 on the YouTube video platform, about the International Women’s Day on March 8, 2020, known as #8M in Mexico City. Its purpose is to know what kind of issues, discussions and perceptions revolve around one of the most attended feminist demonstrations against gender violence and impunity in the face of a growing wave of femicide in Mexico. It also presents a discussion on the potential and risks of YouTube for cyber-feminism and protest, based on comments generated by users. The results show a space in which a strong misogyny, a high misunderstanding of feminism and the impossibility of a productive and dialogic conversation are manifested.

This research paper describes the effects that memes had during a period of the political crisis in Bolivia during October/November 2019. To this end, a compilation of political memes was made, understanding these as a socio-cultural artifact belonging to the Internet. These were subsequently unraveled in two focus groups. Through these, it was evidenced that memes produced and consumed at this time reinforced pre-existing political identities. Furthermore, we suggest that there are quality standards under which they are classified by users.

In everyday life context, inscribed in the cultural battlefield of the material and symbolic (hyper)mediations of the Internet, we are interested in critically reflecting on the approach to cultural practices of digital consumption. Inside the political communication field, we observe that today multiple phenomena are embedded in the daily configuration of these practices, which lead us to rethink the role of traditional audience measurements and statistics, to the use of big data and algorithms, different political-cultural outlooks of audiences, challenged by a global crisis in the subject of cybersecurity. Among other conditions of going digital, we will thus understand such contemporary consumption as an issue concerning political power, taking into account its ideological dimension.

The purpose of this article is to analyze the power of communicative interaction in virtual communities, in the case of the virtual community of Facebook Ni Una Menos: Movilización Nacional Ya, from the paradigm of communication for social change. In order to achieve this objective, a qualitative methodology was applied, which consisted of field work composed of in-depth interviews with 15 members of the Facebook group, as well as the analysis of virtual contents. As a result of the analysis, it was possible to observe how the characteristics of the group, created for activism, led to the sensitive disclosure of testimonies on the web portal, around which a virtual community of support was articulated. In conclusion, this analysis evidenced the power of virtual communicative interaction for the process of individual and collective empowerment of vulnerable communities, such as women victims of violence.