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

This paper explores and describes how Colombian and Spanish young people present themselves on Instagram according to the social game and the symbolic capital that they infer as normative from influencers. The methodology used combines the focus group technique (seven groups) with a content analysis of the profiles of the informants (N = 651). In total, 53 first-year creative industries university students participated. The results show that the work developed by the influencers has given rise to an aspirational narrative genre that young people tend to emulate according to the Instagram habitus in order to be recognised as leading players. Their self-presentation has three main features: a) a preference for showing ‘in-classifying’ practices such as leisure and tastes for freedom; b) the predominance of a specific type of profile and gestures that avoids self-production markers and aspires towards a global audience; and c) the normalisation of self-promotional discourse. Most informants experience Instagram as a game in which they compete to accumulate visibility conceived as relational validation, although in the case of Colombian informants there is a more professional outlook towards the platform. Finally, for all of them, Instagram constitutes a serious game, and many of them admit to feeling too exposed. As a result, they have implemented self-surveillance practices, such as consulting with peers before posting photographs, using secondary accounts and deleting posts.

This research aims to analyze the main characters’ construction in classic Hollywood cinema by focusing on their personalities. This work follows Bordwell, Staiger and Thompson’s notions of classic cinema. The sample includes films from 1930 to 1960. Character is understood as personality and as a psychological unit. Characterization is defined by each trait that refers to the totality of their character. We start with the hypothesis that there are central tendencies for creating heroes and heroines in classic cinema. However, these tendencies also correspond with the film narrative model, which is shaped by the functionality of the narrative categories in the story. Personality is among those factors that shape the construction of the character. We applied a methodology of film narrative analysis to a sample of 64 films from six extensive genres in classic Hollywood cinema. The results confirm that the main character in classic cinema is conditioned and shaped by their adaptation to the film’s genre. The hero is usually positive according to what is considered socially acceptable values; the dramatic needs of the plot predetermine their definition. The Hollywood main character’s personality is based on their functionality as they serve the narrative needs of the story.

The three key instruments in the process and construction of the "Mostra dell'Urbanistica" at the Tenth Milan Triennale in 1954 were the garden, the short film and the labyrinth. They were created to make an urban critique of everyday life through three short films. The exhibition was organised as a labyrinth inside the Palazzo dell'Arte, creating a living micro-garden. A multiple tool to promote the participation of its protagonists and to integrate its audience in the process. An active three-dimensional graphic script with the capacity to show a project structure in sequence over time and also to serve as a tool for process and participatory staging. This exhibition is analysed for its dialectical and pedagogical capacity. Creating instruments with the capacity to attract the attention and participation of the public and generating a critique of the dehumanised city.

A farewell letter serves as a trigger to glimpse the end of the Juan Borchers Workshop. The Chilean architect and theorist, who gives this organization its name, dedicated his time to study and critical reflection on science, the arts, and the perception of physical reality. The last years of his life, supported by Suárez and Bermejo, he dedicated them to drawing up a plan to disseminate the works carried out and the ideas raised through 5 books that represented the treatise on 20th century architecture that had not yet been been written. We have located this fact in "the hospital notebooks" that Borchers used with Bermejo to exchange information while he was convalescing after suffering a heart attack in 1971 in Paris. The radiography of those last years, as well as the discovery of this unfinished manifesto, seeks to value those texts that were left unedited.

The research proposes an approach to the collection as a method by which things - objects or images - are arranged “in relation”, inviting connections to emerge, often unexpected, that build the argument that gives them meaning. The collection, therefore, supposes the production of connections and principles that contain conjectures, juxtapositions, and experimental findings. This way of acquiring knowledge is the one proposed by Goethe in his collection of collections, Aby Warburg with the Atlas Mnemosyne or Quiccheberg in his treatise on museums. The collection of objects or images and their visualization constitutes a way of perceiving “the intimate and secret relationships of things, the correspondences and the analogies", and provoking active and purposeful thinking.

Los edificios híbridos son aquellos capaces de contener múltiples programas, que se relacionan entre sí de manera sinérgica. Esto implica que en los edificios híbridos pueden producirse diferentes cambios asincrónicos que no perturben el funcionamiento eficiente del conjunto. El sistema de movilidad, el sistema de zonas comunes y el conjunto de unidades de uso específico son los tipos crono-espaciales que configuran el grado de hibridación de un edificio. Mediante el análisis diacrónico de parte de la obra de Rem Koolhaas, se va a evidenciar la importancia de la disposición de los crono-espacios respecto a la capacidad de adaptación al cambio y transformación de la arquitectura híbrida; así como las principales técnicas de proyecto en la obra de Koolhaas que permiten implementar los crono-espacios.

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Digital media platforms are used to make social contacts, especially during the COVID-19 pandemic. Journalism also adopts mobile and social platforms into news production and distribution. The usage of digital media platforms in journalistic practices has shown some interlinkage with political participation. Against these backdrops, there is a need for a theoretical framework to analyze the interlinkage and the relevant influence on social activities. This article uses a conceptual approach and theorizes platformization to explicate the rationale behind the interaction between digital platforms, mobile journalism, and political participation. Platformization in this study inspects media as mediated and dynamic platform that values interactivity and data. We also argue that the thesis of platformization derives from mediatization theory, and consists of platform logic and platform architecture. Platform logic is represented by platform functionality, platform automation, mobile mediality, and platform-based sociality. Platformization is structured by the platform architecture in the communication activities. Platform architecture has two senses. Firstly, it has the sense of internal structure, i.e., the engineering structure of software and hardware. Secondly, it contains the sense of external structure, i.e., the platform’s structural position in the platform ecosystem.