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

Through a literature/newspaper inquiry, this research seeks to answer the question: How to offer a synthetic elementary definition of Vernacular Photography that includes commonalities in concepts by specialized authors, galleries, and museums interested in this iconographic genre? Twenty-five definitions of Vernacular Photography were analyzed to answer this question, choosing 13 from the last ten years that were issued by prestigious academics interested in this genre, such as Geoffrey Batchen and Clément Chéroux, or institutions with Vernacular Photography collections, such as the Museum of Modern Art in New York or the Swann Galleries. Studying these definitions has allowed us to find convergent and divergent elements to propose an integrating defining concept. The conclusions section highlights the challenges of finding a synthetic elementary definition of Vernacular Photography.

After the global crisis of the recording industry, popular music has had to rethink itself to avoid perishing. Its alliance with transmedia business and—narrative—logic has been part of that transformation. Music video remains necessary for the multilateral and transmedia music promotion. Through these formats, users create and share content concerning the artist’s visual universe, making it viral and results exponentially. This supposes the first form of expansion of music video in its transformation into the logic of digital ecology in a post-television era. However, the music video has another aspect of growth with its extension through the visual album where each music track corresponds with a visual track; it uses mechanisms that unify the messages or references, for example, as repetitive visual motifs (thematic motifs, similar images, locations, or characters). The visual album allows another way of promoting record works: before, they were sold through two/three singles; now, an attempt is made to extend the life span of records, generating consolidated worlds of meaning. This imaginary is achieved with unity and diversity through rhetorical figures of repetition or quotes from other cultural texts, composing storytelling for music personae. Projects such as Beyoncé’s three visual albums (Beyoncé, 2013; Lemonade, 2016, and Black is King, 2020), Dirty Computer by Janelle Monaé, and El mal querer by Rosalía are examples of a new form of music albums, where the musical artist is resignified with these resources for a new concept of body and performance.

One pillar of democracy is its definition, according to which it represents the government of the people, by the people, for the people. Thus, the people category plays a decisive role in democratic countries, both institutionally and symbolically, and is used as a component of the most diverse discourses and positions in the democratic spectrum, including populism and its digital aspects. This article investigates the construction of the idea of ​​people in Jair Bolsonaro’s tweets, trying to understand how this construction takes place and what idea of ​​people can be deduced therefrom. We evaluated whether the data corroborated a populist stance on the part of the president’s official profile on Twitter. To this end, tweets archived in the “Wayback Machine” containing the word “people” were collected from December 31, 2019, to June 17, 2022. Checking was done directly on Twitter using the collected identification numbers to search for the tweets. We identified that the notion of people in Jair Bolsonaro’s speech on Twitter is unclear, but these “people” are called to support the populist politician, resulting in mobilization and a permanent political campaign focused on disinformation with an appeal to emotion and religiosity.

This paper analyses the representation of functional diversity and sex-affective relationships among adolescents in the fictional series Sex Education during seasons 2 and 3 (2020-2021), coinciding with the appearance of the character Isaac, an adolescent with functional diversity. Based on the discourse analysis of the characters and the narratives on functional diversity, we explore the construction of Isaac as a desiring and desired subject and his sex-affective relationship with Maeve. The research concludes that Sex Education makes visible, vindicates, and normalises the affective and sexual needs of young people with functional diversity, avoiding a discourse where infantilisation, pathologisation, and asexuality prevail. It gives the characters with functional diversity a horizon of possibility of loving and engaging in sexual intercourse. Likewise, the series presents a scenario where equality and integration are unprecedented successes in society, viewing the difficulties and violence faced by Isaac as an exception rather than as a structural social problem.

Night Shot (2019), Carolina Moscoso Briceño’s film directorial debut, is a self-referential film, heterogeneous in its narrative forms and staging strategies. It is a documentary in which experimental modes are inserted. We asked ourselves about the type of work of the self to which it belongs (autobiography, self-portrait) and focused on the different narrating voices it uses. We also considered the subjectivity of the story and the affective turn that occurs without the story’s veracity being altered. We hypothesize that Night Shot is a story that belongs to a work of the self that, from the present, inquires into the near past so that the retrospective exercise serves the author as a way of understanding herself and as a form of denunciation. To build it, she adopts an emotional approach without questioning the veracity.

El estudio de la cultura visual como campo interdisciplinar brinda diferentes marcos teóricos y metodológicos interpretativos de todas las realidades posibles. La fotografía y el cine en Latinoamérica, con un enfoque contemporáneo post 1945, ha resultado ser una potente herramienta para desencriptar los mecanismos comunicativos de la órbita hispanohablante: no solo como representaciones visuales, sino, más bien, como constituyentes significadores culturales, máxime hoy en día en el ámbito de las nuevas tecnologías.

Reseña del libro: Moor, L. (2022). Communication and economic life. Polity Press.

Reseña de libro: Bertorello, A. (2022). Espacio de juego, explosión de sentido e iconicidad. Un comentario híbrido al curso de Heidegger Preguntas fundamentales de la filosofía (1937-1938). Teseo. https://www.teseopress.com/espaciodejuegoexplosiondelsentidoeiconicidad

This article attempts, through a reflection exercise, to point out the changes and transformations in people's daily lives, as a result of the imposition of mandatory social isolation measures by the goverment, in the face of the spread of the Covid-19 pandemic. For its development, the qualitative method was used under a bibliographic review of documentary sources, from the area of social sciences (sociology and anthropology) and human sciences (philosophy), located both in databases and in institutional repositories. With a view to making a more enjoyable text, statistical information from institutional and journalistic nature was involved, in order to promote understanding in the face of the increase in the use of information technology and digital prostheses, in the socio-sexual interaction experienced by the world during the social dynamics of isolation caused by the infection of the new coronavirus. As a result, it is worth noting the presence of a temporality characterized by sadness and anguish in the face of the real possibilities of living and the permanent stalking of our now digitized fantasies, an issue that not only afflicts the subject, but also makes him redefine his life practices anchored to capital (consumption), sexuality (sex-seduction) and forms of subjective constitution, given the techno-digital use that it makes, to satisfy their sexual desire and generate social ties. During the isolation stage, virtuality not only revealed the dual nature (closeness/distance) of social relationships, but also how this virtual modulation turns the subject into fragments of a broken mirror.

his paper is a theoretical review of the legal and normative framework of Inclusive Education as one of the competent configurators of the macro dimension of the pedagogical practice of the teacher within the Educational Institutions in Colombia, in order to contrast the manifestations that emerge from this framework and the context of the schools in Colombia. This article presents the results of a critical exercise that allowed an approach to the existing gap between the objective of Inclusive Education and the regulations deployed in this nation, with the logic of the pedagogical experiences that occur in schools. This analysis made it possible to group the legal framework affecting the Colombian educational system into three categories. By way of conclusion, it can be stated that the legal framework of inclusive education is insufficient to achieve the transformations that education and its actors require. Therefore, it is necessary to look for an alternative path that manages to find synergy between the norms and the teaching pedagogical practice in order to achieve the involvement and therefore the learning of all students towards a real inclusion that permeates the social sectors, especially those historically excluded.