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

Les democràcies s’han definit com els sistemes polítics que millor han sabut conjugar un nivell de consens sobre un ordre social determinat, amb una capacitat de dissens que garantís el pluralisme d’aquestes. En aquest article es farà una relectura crítica d’algunes de les principals corrents democràtiques davant aquest complicat equilibri: des dels postulats clássics de liberals i republicans, a les teories antagonistes de segona meitat del segle XX. Aquesta discussió es troba avui enfront d’un nou repte per l’emergència de l’anomenat «moment populista», i la possibilitat que el dissens associat a ell desborda els consensos democràtics vigents. En aquest sentit, es realitzarà una aproximació a la relació entre democràcia i populisme des d’enfocaments postestructuralistes com el de Benjamin Arditi, per a intentar repensar la relació entre ambdues, entenent el populisme com a perifèria difusa de la democràcia.

A la nostra vida quotidiana, utilitzant targetes de crèdit, càmeres web, etiquetant les nostres imatges a Facebook, navegant per una ciutat amb els nostres telèfons intel·ligents, participem constantment com a ciutadans en la societat de la vigilància. Contràriament, en el disseny i l'art la participació en les estratègies de vigilància esdevé una tàctica de crítica política i d'acció subversiva. En aquest article es ressenyen les obres i projectes d'artistes i dissenyadors digitals que s'institueixen com a agents polítics principals del discurs sobre la societat en xarxa. Són creadors que exploren críticament la manera en què les narratives postcapitalistes afecten l’alfabetització de les màquines, els humans i els ecosistemes. Les seves principals línies de recerca inclouen la materialitat d’Internet, la vigilància, la visualització de dades i les interfícies.

En l’article es proposa un estudi del poder en l’època digital a partir de les propostes teòriques de Michel Foucault i Gilles Deleuze que parteixen de la metodología genealógica, plantejant que un desenvolupament de les seves teories permetria comprendre la problemática de la societat capitalista actual com la instauració d’un apartheid en línea i les alternatives d’una filosofia intempestiva, que criticaría les dinàmiques de les noves formes de la societat capitalista conceptualitzada con una societat del control.

Les noves dinàmiques frontereres i els diversos patrons de mobilitat humana qüestionen alguns dels pressupostos bàsics de la filosofia política. Aquests canvis obliguen a replantejar-nos les bases de l'ètica de les migracions, superant la concepció estàtica i territorial clàssica pròpies del nacionalisme metodològic i incorporant les aportacions d'altres disciplines com els estudis fronterers. A partir d'una anàlisi crítica del règim fronterer contemporani, l'article identifica els principals desafiaments i limitacions als quals s'enfronta l'ètica de les migracions. Finalment, es reivindica la necessitat de transcendir el pla teòric per a centrar-se en situacions concretes no ideals, ja que només així podrem donar resposta a alguns dels desafiaments ètics més urgents que ens planteja la governança de les migracions.

Abstract   This study describes and interprets the dialogue between a visual artist and artisan in horsehair from Rari, about the problem of definitions, distances between art and crafts, and their projection in education. Art and crafts are areas treated and defined by various authors, and from the dialogue and life stories of the two participants, to finally propose an integrated educational strategy. The study seeks to be a contribution, since, through the previous research carried out for this study, no research or articles were found in which this debate was carried out from the dialogue of protagonists of these areas, but rather, external views of the phenomenon. This proposal is based on a joint construction of a relationship of transfer of information and reflection, arising from the ways in which the protagonists were formed in the construction of cultural objects, whether understood as a work of art or as an object of a tradition. The dialogue is articulated from conversations between the artisan confronted with the responses of the visual artist (researcher), in an interpretive paradigmatic approach with an initial auto-ethnographic design. The co-construction of said reflective reality and the generation of educational proposals is approached from a socio-critical stance and works from certain stages of action research. As a result of these reflections, it is interesting to confirm the need to eliminate the odious separation and categorization, which until today we conceive, as a socio-cultural and historical distance that has been projected to education and, which, through this study, we seek to narrow. Keywords: art, craft, horsehair craft, dialogue, arts education

The nature-culture dichotomy has been controversial within feminist analysis to explain a supposed universal subordination of women. From the social sciences, its use has been debated and criticized, due to the ethnocentrism and anthropocentrism from which this division operates, to which other dichotomous pairs such as public-private are added. It is necessary to know the reasons for the allocation of places (women to nature, men to culture) and also the hierarchical relationship between them. Based on decolonial feminisms, we can identify the subjugation of nature and women as internal colonies within a world system, and in turn, guarantee a situated gaze that breaks with universals established from the West. When carrying out this analysis, we discovered the value that is given to the activities carried out by women, among which is motherhood. In this way we return to the conflictive relationship of some feminist currents with motherhood, by maintaining dichotomies and therefore, associating the maternal with nature, the private and domestic sphere and also by homogenizing the processes of men and women. The disagreement between motherhood and Western feminism has given rise to different interpretations of breastfeeding or attachment parenting. At the same time, it is necessary to criticize the salvationist character of hegemonic Eurocentric feminism, where many mothers are considered victims of “the law of the father” due to their choice of a specific parenting style. To these debates it is important to add the family as a space of oppression or resistance, where the agency capacity of mothers is taken into account. And finally, as part of the nature-culture debate, we will enter the controversy over maternal instinct and desire, confronting two feminist perspectives: on the one hand, maternal love and mothering are seen as elements of submission and on the other hand, as elements of subversive. Thus, the need to apply biocultural perspectives in motherhood and upbringing is observed, where the voice of mothers is counted on their own processes and meanings and with the needs of childhood within political and feminist agendas.

In this article we present a plastic and visual experience, carried out by the students of the Infant Degree in the 3rd Course. This proposal is part of the research group HUM816 E-Arlit, of the University of Malaga, and aims to develop two of its lines of action: knowledge of plastic techniques based on experimentation itself, and awareness of a more equality based on gender parity. We work with the students enrolled in the Plastic and Visual Education subject, proposing as an artistic practice the elaboration of an artistic work on doors. Why do we choose such a support? We wanted each of the works to signify the possibility of opening a new view towards equality, it was not just a matter of deliberating on this legal principle, but that each group of students had to take their vision beyond the problem and expose, helping each other acrylic techniques, their own reflections. It is an exercise to raise awareness of the certainty that gender equality is not only a fundamental right, it is the essential basis for achieving a peaceful and prosperous world.

This paper presents the research carried out on how a collaborative project between an educator of the Jorge Rando Museum in Malaga and a teacher of the subject Plastic, Visual and Audiovisual Education of the 4th year of Compulsory Secondary Education (ESO) is developed to deal with three areas of the educational environment that, in our opinion, are interconnected: art, cultural heritage and culture of peace. Developed from an ethnographic-qualitative methodological framework and as a case study, the research has an inductive and emergent character that has facilitated the implementation of modifications in the initial design, in response to the circumstances arising from the study process. This open approach has allowed us to describe, on the one hand, the ideas that museum teachers and educators have about art education and cultural heritage and, on the other, how they use them to dimension the culture of peace. Its conclusions highlight, among other issues, the educational possibilities offered by the museum as a space for cultural and civic communication, and the secondary school as an educational institution to collaboratively address contents on art, cultural heritage and culture of peace, as well as the difficulties that hinder the construction, management and implementation of coordinated artistic-pedagogical projects in both institutions.

This research focuses on the meaning of dance photography por poster and advertising of the National Ballet of Spain (BNE) by photographer Manu Toro. This artistic process unites several visual and performing arts in itself and provides relevant information to the general public as well as to students, teacher and dance professionals about the stege event it represents. In this study, Manu Toro’s photographs represent a new visual discourse where the meaning of the photograph is a brief summary of the program or choreography it represents, developing a recognizable style manual as a new identifying image. To carry out this work, a methodological proposal is presented that aims to analyze photography from the point of view of dance, complementing the analysis of the characters-dancers and their narrative meaning on the scene through research instruments based on images of the Based Educational Research in the Visual Arts.