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

El presente artículo aborda el uso de la inteligencia artificial y su límite frente a los derechos fundamentales. Para ello, de manera introductoria, se realiza un análisis de los retos que debe asumir el derecho constitucional frente al uso de tecnologías de la información y las comunicaciones y el impacto que ello genera para los derechos de los ciudadanos. A continuación, se realiza una aproximación al uso de inteligencia artificial en el sector público desde el uso de datos. Se presenta la respuesta institucional normativa y de política. Enseguida, se presenta un análisis del impacto que genera el uso de IA en los derechos a la salud, la educación, la justicia y la intimidad. Finalmente, se presentan algunas conclusiones.

El objetivo de este ensayo es analizar las principales líneas jurisprudenciales en materia de igualdad y no discriminación con las que el Tribunal Constitucional de Chile abor- da el estatuto jurídico de las personas migrantes. Se examinará el marco constitucional de la migración en Chile, el insuficiente desarrollo de la igualdad y del derecho a no ser discrimi- nado en la Constitución, la legislación y la jurisprudencia del Tribunal Constitucional chileno referida a estos asuntos. En esta materia ha predominado una concepción simétrica y formal de la igualdad, que tiende a justificar el trato discriminatorio de las personas migrantes y con ello contribuye a reforzar su posición subordinada, no obstante, se evidencia una evolución normativa y eventualmente constitucional hacia una comprensión alternativa de la igualdad.

La ausencia de disposiciones normativas que regulen el control de constitucionalidad en Argentina le ha permitido al Poder Judicial autoatribuirse la competencia de definir mediante sus sentencias su forma de ejercicio y sus caracteres. A través de su propia jurisprudencia, y siguiendo el modelo norteamericano, la Corte Suprema de Justicia de la Nación ha creado el sistema de control de constitucionalidad clásico, que hoy está transformando jurisprudencialmente. El trabajo propone analizar críticamente este proceso transformativo mediante la reconstrucción histórica del sistema de control de constitucionalidad, y el relevamiento de sentencias de la Corte Suprema que permita acreditarlo.

Frente a los crecientes conflictos entre la libertad religiosa y la no discriminación, el artículo recurre a fuentes comparadas y domésticas para proponer tres mecanismos para su conciliación, todos los cuales gozan de cierto sustento normativo en Chile. Primero, las excepciones constitucionales o legales a las normas antidiscriminación. Segundo, la objeción de conciencia. Tercero, la acomodación razonable. Junto con identificar ventajas y desventajas de los mecanismos, se propone su utilización combinada, destacando la acomodación razonable como la herramienta más adecuada.

Convocatoria / CALL FOR PAPERS

The historiography of Aragonese art that had referred to Felipe Busiñac y Borbón, one of the most important architecture professionals in 1600s Aragon, had located his career in Borja and Zaragoza. However, both the review of studies already published, as well as the discovery of unpublished documentary news, place him involved in two projects in the province of Teruel, in the convent of Carmen de Rubielos de Mora and in the parish church of Mosqueruela, two examples that allow us to understand the evolution of the religious architecture of Busiñac.

In 2018, within pre-electoral climate of the general elections, a work by the artist Charo Corrales suffered an iconoclastic act. It was the work entitled Con flores a María, where the artist presented her face instead of that of the Inmaculada Concepción de Aranjuez de Murillo. With the photomontage, Corrales is shown as an Inmaculada masturbating. The work was part of a collective exhibition under the title Maculadas sin remedio. In the present text the relations between art, transgression and iconoclasm are studied, understanding the resignification of religious images as a strategy of feminist artivism. In the first part, the key theoretical elements are provided to be able to carry out this type of analysis, as well as the pertinent definitions and clarifications regarding the concepts of transgression and blasphemy. Subsequently, the work of Corrales is analyzed in its context, to later show other artistic manifestations in which the figure of María is reinterpreted. Finally, a reflection on iconoclasm and censorship is carried out.

Walter Benjamin did not clearly define the term «dialectical image», but it seems to refer to the configuration of meaning that occurs when a historical image reaches a higher degree of actuality than it had in its own time, when integrated into a constellation of meaning with another contemporary image. In this article we will propose that the art collectors’ cabinets genre could achieve a renewed relevance if we put it in relation to installation art, the leading form in the framework of contemporary art, according to Groys. In this dialectical image, the collectors’ cabinets would nuance their counter-reformist aspects, while the installation art would find a genealogy that would give historical meaning to its dialectical relationship with modernist iconoclasm.

During the Second Republic, there were transformations that shook the foundations on which traditional femininity had been built, including religious piety. As a result, many women found themselves in a threshold situation between the possibilities offered by the new times and the nineteenth-century gender roles they had learned which, moreover, continued to constitute the standard in a society that was still assimilating the changes. This article analyses how women artists adapted to this reality, combining modern elements, such as dedicating themselves professionally to painting or cultivating an aesthetic typical of the avant-garde of the 1930s, with other more conservative elements, such as the repetition of religious themes in their creations. Finally, the work of Rosario de Velasco, Marisa Roësset and Julia Minguillón is analysed as an example of that art between tradition and modernity which was so successful at the time.

Lotte Reiniger was a German animator and a pioneer in filmmaking. She was the author of one of the first animation feature films, The Adventures of Prince Achmed (Die Abenteuer des Prinzen Achmed, 1926). However, her work has not been placed within the Avant garde movement, given that Reiniger produced her filmography based on narrative language instead of abstract animation. In an artistic environment conquered by cinéma pur, the most widespread wave of animation during the decade of the twenties in Germany, Reiniger became an outsider with her silhouettes and her cut-out technique. Taking into consideration this historical vagueness, this research goes further into the figure of Lotte Reiniger as an Avant Garde filmmaker, analyzing her filmography and her narrative animation, as well as defending her as a member of the German Expressionism movement. Her appeal to legends, fantasy, European opera and artistical chiaroscuro is deeply related to German Expressionism movies. Moreover, Reiniger’s ouvre is greatly influenced by Jugendstil, the German art nouveau movement, which is observed in the preciousness of her figures, backgrounds, vegetal and zoological ornaments. On the other hand, Orientalism in Reiniger’s films also correlates Jugendstil with Expressionism, which denotes her belonging to artistic Avant Garde movements. Consequently, this research aims to achieve the integration of Lotte Reiniger into the movement of German Expressionism claiming for the legitimate place in History she deserves.