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

Introducción: según la Organización Mundial de la Salud, el software educativo ha revolucionado el modelo pedagógico tradicional hacia nuevos modelos didácticos, donde el espacio, el tiempo y los recursos para el aprendizaje no están limitados.Objetivo: diseñar un software educativo como soporte bibliográfico para la asignatura Rehabilitación II, de la carrera Estomatología.Métodos: se realizó una investigación de innovación tecnológica en la Facultad de Estomatología de la Universidad de Ciencias Médicas de Villa Clara, durante el curso 2018-2019. Se utilizaron métodos teóricos: histórico–lógico, analítico–sintético, e inductivo–deductivo; empíricos: revisión de documentos, entrevista no estructurada a estudiantes de otros años superiores y a directivos y otros docentes de la facultad, y cuestionario a estudiantes. Para la confección de la software educativo se utilizaron los programas: Notepad++, Paint, Photoshow, Microsoft Office Power Point y Wondershare Photo Story Platinum.Resultados: el análisis documental confirmó carencias de bibliografías y medios de enseñanza para el estudio e impartición de los contenidos de la asignatura, lo cual fue confirmado por los informantes clave. La mayoría de los estudiantes prefirieron como medio de obtención de la información un software educativo, el cual fue diseñado y valorado por criterios de especialistas.Conclusiones: por su información el software educativo es un recurso capaz de ser utilizado como medio de enseñanza en la impartición y estudio de la asignatura. Fue valorado por especialistas como un material funcional, de aplicabilidad, atractivo, factible y original.

This article is a semiotic study of the beginnings of neo-figuration in Costa Rican painting during the 1970s, with emphasis on the work Segunda Etapa: Cuarta escalera (serie Arquetipos) (1976) by the artist Lola Fernández Caballero. It is contextualized in the Salones Nacionales de Artes Plásticas in Costa Rica (1972). On the other hand, the notion of “neo-figurative art” is conceptualized as a theoretical approach. Likewise, a semiotic analysis is performed as a research method, interpreting the sign on three levels: syntactic, semantic and pragmatic. This way, it is perceived how the Costa Rican and Latin American context presents a change of social paradigm, a “values crisis”, through globalization and neoliberalism and, together with the promotion of Costa Rican art, it had a clear influence on the initialization process of Costa Rican neo-figuration, particularly in relation to the work analyzed in this article.

The International Festival of Mexican Music of the Autonomous University of Nuevo León’s Music Faculty has established itself as an academic and artistic strategy. For this reason, the objective of this research is to describe the benefits generated by the organization of this activity in a virtual context, motivated by the health contingency caused by COVID-19. With that in mind, we conducted virtual surveys to a group of academics and experts in the music field, who had previously participated in the festival, to learn their opinion about its scope, limitations and future projections. The results showed that the importance of holding a festival exclusively for Mexican concert music lies in recognizing and establishing our cultural roots, and using technical tools and universal knowledge that enable the composer to channel their creativity and the performer to project these values. Additionally, it can be seen that the virtualization of the festival enriches the musical work derived from the experience acquired by achieving a larger national and international audience through social networks and digital platforms.

The Olmecs were a pristine culture that grew in Southern Mexico starting nearby 1600 B.C. The unmistakable style of their creations, that have been found in many territories of Mesoamerica, identify them. In this article, we study materials, especially stone, used by the Olmecs to sculpt their artistic works. This study starts with the type of rocks, which the Olmec used to sculpt artistic works, where we see the evolution of a unique aesthetic style that started with a strategic selection of rocks. The data and hypotheses of specialists complement the studies provided here to specify the natural resources, the effort to obtain them and the routes and techniques for transporting raw materials and finished products. With our paper, we seek to reinforce and revitalize the hypothesis that the Olmecs, along with the search for beauty, had a clear interest in spreading an ideological discourse.

This research addresses the initial process of insertion in the Cuban cultural circuit of the Cuban-American designer and artist Edel Rodríguez, by exhibiting his cultural graphic production for the first time in a Cuban institution. The methodology implemented is multidisciplinary. It runs in the fields of sociology, history and semiotics to present the artist and analyze the process of management, staging and reception of the personal exhibition Nature Boy (2014) at Casa de las Américas. The event was very well received by the public and had a beneficial repercussion on the journalistic reception, as it was the perfect opportunity to learn about the professional career of the Cuban designer trained abroad. However, the exhibition is framed as an excellent presentation of the artist’s creative work because there is no other significant exhibition of Edel in the Cuban art scene.

This study examines the relationship between Octavio Paz and Group 1890, a collective of young Indian artists who held their only exhibition in New Delhi in 1963. The analysis focuses on the dialogue that emerges from the exhibition catalogue, which includes an introductory essay by Paz as well as Group’s provocative manifesto. Through a reading of Paz and the group’s approaches to artistic novelty, the role of the national, and the art-reality relationship, this study seeks to trace a South-South artistic dialogue based on incongruity and heterogeneity. In the exhibited works, the poet sees the expression of a global avant-garde, influences by European movements, built in opposition to the national folkloric tradition, and devoted to a deep exploration of reality without ever espousing realism. Meanwhile, Group 1890’s manifesto projects an almost nihilistic vision that, despite acknowledging a European predecessor in its dedication, rejects its national tradition without embracing universalist aims and conceptualizes art as an independent field separate from what’s real.

In America, an Eurocentric discourse has developed in the practice of music and spatial conformation. This work analyzes the impact that music and architecture have had on the construction of our identity. The methodology included case studies that involve soundscapes to understand the social phenomena that enhance relations of domination. Hegemonic dynamics of “classical” music were analyzed in the National Theater of Costa Rica, as well as Latin American examples and proposals related to the rupture of eurocentric artistic compositions that promote transculturation. The article explores the music of nature, the soundscape, and memory, considering different biophilic patterns as alternatives towards decolonization that, through local knowledge, promote interculturality. To re-configure new discourses, it is not necessary nor right to demonize European cultural contributions, but rather to understand how many of these habitus have led to devaluation attitudes against the autochthonous.