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

Children are enthusiastic and highly motivated in front of screens of mobile devices. Parents and educators choose which applications and games will be used. But this selection is not supported by clear and founded information about which applications are suitable for children aged 0-8 years. An exploratory analysis of different international selection of top rated children's applications showed that classifications employ basic descriptive criteria and partial and arbitrary indications about the contents of the apps. The inclusion of parameters related to interactive design simplicity, the distribution of the elements on the screen, and the development of the attention and perception process, is discussed. This paper provides a theoretical model for building an effective and literature-based classification system in order to define the suitability of each educational App for children.

Culinary heritage is an element of cultural communication, which channels cultural traditions and natural idiosyncrasies of a place. Cuisine and gastronomy purport a close relationship between rural life and service industries. Thus,gastronomy implies local and touristic development. This article explores the relationships between these different concepts while illustrating with examples of how food heritages are critical for the creation of different type of landscapes.

During his visit to Montevideo he gave lectures to students and lead workshops for journalists. His name is associated with Etiqueta Negra, the prestigious Peruvian magazine known for its profiles and chronicles, narrated with the charm of good stories. Obsessive editor and founder of the magazine, Julio Villanueva Chang spends a lot of time thinking about a lead, changing a title, choosing the best photo to illustrate an article or arguing with the journalist who failed to answer the question that gave origin to the story. Villanueva Chang has a conviction: the most important thing to start researching any subject is to pay attention to detail, to the things that are not at plainsight. That’s why his workshops are usually titled From up close nobody is normal. On the importance of “close watch” and his work in Etiqueta Negra, Villanueva Chang spoke to journalism students at the Facultad de Ciencias Humanas of the Universidad Católica del Uruguay.

“This series is an extract of a work in progress that gives continuity to the search, record and to a personal inquiry into the world of dance. In this case, as rehearsal, I’m working on a more conceptual idea, where the aesthetics prevail as a fundamental tool to wonder about interpretations, roles and freedoms in dance. It does not sprung from an objective study, not also from a dichotomic mode of thought where we are either free or not, or where something is either true or false; neither from a palpable reality: it is a personal worry, an isolated question that, on the course of an investigation, takes the form of a photo: Who is the one who dances? Is the internal struggle, the repressed feeling of the dancer to become, at last, their own interpreter leaving the body as an instrument to represent other lives; the ones that eventually become theirs. There are many bodies, many perceptions, many features; all except their own. A face that complains, hides deeply flashes of anger”.Santiago Barreiro (1985) trained as a photographer at the Fotoclub Uruguayo and immediately started working for local and international companies, magazines and media organizations. He has taken part in several group projects and has displayed his work both locally and overseas. As a result of a deep interest in classical dance, in 2012 he is hired by Julio Bocca to photograph the work of the Ballet Nacional del Sodre (Uruguay). In 2015, he publishes Pueblo Ballet, his first book. 

This text aims to rescue and evaluate the Mexican Silent Film´s chronicles published by Elena Sánchez Valenzuela between 1919 and 1929. It does so through an historiographic perspective and as a first approach to the women´s history and the film culture that led to the readers of the newspapers in the Mexican capital of these years. To the women´s history, because the particular case of Sánchez Valenzuela is linked to a career attached to a society in which a patriarchal ideology prevailed. To the silent Mexican´s film history, because it points on the cinema conception as art, spectacle and cultural industry, and to the culture film for better knowing if Sánchez Valenzuela´s work as a cinema chronicler contributed to the audience’s better appreciation of cinema. As a method, this work uses documental research and content analysis.

An enthusiast of documentary photography, he began studying Philosophy and then went into the fields of Communication and Education. He directed audiovisual productions, wrote books and articles on Communication and Postmodernity, revived historical photographic archives, taught Communication in graduate and postgraduate degrees, studied contemporary urban collectives of his city and, for more than 10 years, has been the corporate communications manager of one of the most important universities in Mexico: ITESO (Instituto Tecnológico y de Estudios Superiores de Occidente). Humberto Orozco-Barba combines thinking and doing, and has achieved products of communication from the University’s community —a difficult, diverse and critic community— that have earned him national and international recognition.

In late 1987, Uruguayan rock reached its peak acceptancein the audiences, becoming the representative movement of all youth culture during the post-dictatorship period. In that same year, Relaciones magazine put together a panel aiming to communicate to the broader public what the new youngsters had to say about themselves as a new generation, as well as what they were saying about the emergent culture of the Eighties. The dynamics of the discussion took an unexpected course: the public mostly composed by members who were youngsters during the Sixties and Seventies, finished up dominating the discussion while talking about themselves and making the youngsters become spectators. This article analyzes the chronicles and reviews about the event, and reflects on this meeting as an instance where two generations were defined in terms of their mutual recognition. The meeting enabled both generations to define themselves since the contact between them had been banned by the dictatorship.

This article describes the impact digital technology had on the international recording industry, since 1995 up to this date. It does so through the assessment of the changes in commercialization, production, and distribution of music while also looking into the new habits from the consumers. The aim of the article is thus the description of how a series of inventions developed in the last twenty years (broadband, computers, multimedia, smartphones, P2P services and online communities) have changed the business models in the music sector. 

The term “data journalism” arrived to newsrooms some timeago, and now every news media wants be part of it. In asmall country like Uruguay —despite the isolated effortsof some companies, NGOs and government agencies— ithas still not found its place in the media. This research triesto clarify the concept of data journalism in order to breakdown the state of the art in Uruguay, through interviewswith journalists, members of NGOs and members of the academicstaff of the universities where the future journalistsare being formed. Thus being able to point out the impulsesand obstacles data journalism has encountered in order toforesee its possible future.Keywords: 

Illustration.