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

The purpose of this article is to analyze the organizative processes of historically subordinated groups that derive from the diagnosis of injustices for the foundation of a collective identity and therefore contribute to social framing. As a case of study, we analyze an association of Afro-Colombian women from the city of Cali who believe both in education and in vindicating Afro-feminine aesthetics to create discourses that allow them to subvert these injustices. Fieldwork and semi-structured interviews made possible the identification of the organizative processes that lead to the diagnosis and the analysis of how these result in social framing practices that allow us to describe leadership or agency experiences. The case study reveals the determinant role that the perception of injustices plays for the organizational process and the way in which the framing experience makes possible the appearance of communitarian agency practices.

This work is framed within the discussion of archive photography as a valuable semiotic resource for the negotiation of meaning that a social collective makes of its recent past. Within this framework, this article proposes a semiotic analysis of one of the photographic pieces that are part of Amnesty International Uruguay's campaign on the detenidos-desaparecidos (2012). The analysis suggests that photographs belonging to the private archives of the desaparecidos and their families have a significant role in the process of collective healing, as they contribute to the creation of the collective actor of the 'desaparecidos’ in social discourse. As visual resources framed in a certain context of meaning, archival photographs are worthy of a Semiotic study.

This article aims to reflect on the way in which the phenomenon of serialization is defined in contemporary culture and to deepen the study of massive narratives that, in semiotic terms, lack univocal theoretical approaches. Based on Mikhail Bakhtin's transdisciplinary project, a theory framework is put in place to observe the current phenomenon of serial fictions in Latin America with a view that transcends genres and disarticulates form-content dichotomies and closed classifications. The case for analysis is Luis Miguel, the series (2018), a production that challenges the limits of contemporary television series by erasing the frontiers of traditional forms. Analyzing current television products in terms of a "generic uniqueness" allows an understanding of the compositional operations of these narratives, as well as the way in which they engage in increasingly less normative exchanges with other areas of culture.

The following article is a conceptual and analytical reflection on the problematic —sociological and communicational— of the constitution of collectives and their passage to the public space. The text proposes a theoretical hypothesis with methodological consequences: that the configuration structure of collectives is triadic and not binary, as theories of collective identity usually postulate. Collectives, then, are constituted, first, in a process of internal collectivization, then through the configuration of a field of intercollective relations (the identitary moment) and, once they enter the public space, they need the discourses that provide them a public certification of existence. On this basis, some ideas are suggested to proceed methodologically for empirical inquiry from case studies.

The aim of this article is to contribute to the reflections on digital communication from a dialectical and dialogical perspective that articulates the theoretical traditions that enable the analysis of communicative problems with the concepts of hypermediation. To this end, the ideas of Robert Craig and his constitutive metamodel formed by the integration of seven traditions are put into dialogue with the ideas of Carlos Scolari, who analyses the new forms of communication that arise from the convergence between media and languages through the concepts of hypermediation, digitalisation, hypertextuality, reticularity, interactivity and multimediality. Building bridges between traditions and hypermediations allows us to fill the theoretical gaps produced by research processes that have alternated between mass communication and interpersonal communication, while at the same time it positions digital communication as a mediating strategy of dialogue between traditions.  

This article aims to analyze the treatment of police news in the programs of the Argentine air television in which the format of talk show prevails. To do so, we selected a specific piece of news that can be classified as a shocking case: the murder of Fernando Pastorizzo by Nahir Galarza, a young woman with whom he had a relationship. To analyze the television coverage of this case, concepts from different perspectives were articulated: the critical analysis of the discourse, the theory of news and the theory of framing. The main findings include the uniformity of perspectives shown by the panelists in the programs and the tensions that were observed when the case was considered from a gender perspective.

The perspective of the appropriation of technologies (ICT) has developed in recent years and supports the idea of appropriation as a relevant observation space to understand relations and types of links established with digital technologies in the field of interaction and information, especially from the individual, group, institutional and community points of view. The book Acerca de la apropiación de tecnologías: teoría, estudios y debates (Lago Martínez, Álvarez, Gendler y Méndez, 2018) presents a fine-tuning of the progress and state of the discussion on this development. It should be noted, although it may not be an unknown fact for those who approach this book, that several of the authors have a recognized production and an important accumulation of knowledge on these issues. 

In his work, Andrés Boero expresses the transitory character of the human being observing the transformations of culture and nature in the place where he lives: the outflow of a river. Deconstruction is a project that investigates its direct relationship with the landscape, starting point and source of inspiration, where the creative process becomes more relevant than the final result. Through different treks through the village, the banks of the river, the wetlands and the mountain, Boero observes how nature and man change reciprocally. From the displacement through the territory arises the contact with the material: mud, wood and its mutation by means of water, air and fire. Fabrics installed in the river, on the ground, under the trees, to see how the environment expresses itself and leaves its mark on them. Trunks found, modified by water and then by the artist's hands. Mud also takes on great relevance in Boero's work, as a material that denotes temporality, which is in constant transition, determined by the absence and presence of water.  Deconstruction is a practice of observation and learning throughout the territory, in search of an abstract formality, with no pre-established idea beyond the encounter with the environment. Almost as a sketch, the photographs are the testimony of a process, which is the work itself.  This project was supported by the Regional Funds for Culture of the Ministerio de Educación y Cultura (2017) and developed during 2018. The work has been exhibited at the Museo Municipal Profesor Roselli in Nueva Palmira (Uruguay) and at the Museo Lacán Guazú in Dolores (Uruguay). Andrés Boero Madrid, Uruguay, 1983. Filmmaker and Visual Artist, his work reflects on man and landscape from Latin American identity and memory. He graduated as Director of Photography from the Escuela Internacional de Cine y Televisión of San Antonio de los Baños, Cuba. He has exhibited in different cultural spaces, such as the Museo Nacional de Artes Visuales, Museo Lacán Guazú, Espacio de Arte Contemporáneo and Centro de Exposiciones Subte. He is currently carrying out a residency project for artists in Villa Soriano, a small town in the Uruguayan countryside, promoting the decentralization of contemporary artistic production.   https://vatelon.com/    

The present work intends to analyze the urban presence from the echoes and noises of the city, expressed in Lucrecia Martel’s short documentary La ciudad que huye (2006), and in the films Cara de queso – mi primer ghetto (2006) by Ariel Winograd, Una semana solos (2008) by Celina Murga, Las viudas de los jueves (2009) by Marcelo Piñeyro, Historia del miedo (2014) by Benjamín Naishtat, and Los decentes (2016) by Lukas Valenta Rinner, through the reverse of the city that is transformed into citadel, forged by a middle and upper class and under the context of neoliberal policies. The films appear as singular languages ​​that, interwoven in the light of technical documentation, the bibliography on cities and the understanding of the historical process of formation of the countries, help us to think and problematize the relations between sensibilities, sociabilities and contemporary urban space in this kind of “city that flees”.

Socio-cultural approaches to the study of technology appropriation processes highlight the possibility that a technological device will not always be used in the planned ways. Based on a set of in-depth interviews with adult mobile phone users, this article analyzes the limits and resistances faced by some aspects of its use, related to three issues: the perception that certain uses are not of free choice but are explained by external pressures, the refusal to allocate amounts that are considered unjustified for the acquisition of the most sophisticated terminals and criticism of forms of use that are considered excessive. Consequently, these findings underline that the process of domestication of a technology, in this case mobile telephony, is never linear.