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

Objective: The main foundation of the research was to understand the influence of transactive memory in couple relationships mediated by Whatsapp in young adult psychology students at the Luis Amigó Catholic University in Medellín. Method: This research had a qualitative orientation with a phenomenological approach. As information collection techniques, bibliographical tracking and in-depth interviews were used, which were later coded through the Atlas-Ti.9 program. Results: Once the information was collected and analyzed, the information provided by the interviewees was triangulated based on the construction of a matrix of associationist principles and an analytical matrix. Conclusions: from the findings it is concluded that there is a relationship between the extensive aspects of the mind and the memory notions of a transactive memory around the construction of links around the use of the Whatsapp application, demonstrating that the use of the technology has substantially changed the way biographical notions are constituted in the historical development of the couple.

This article discusses the Colombian documentary Pizarro by Simón Hernández (2016), an excellent example of the contemporary visual culture developing in Latin America. Its protagonist is Carlos Pizarro, the M-19 Movement (M-19) commander assassinated on April 26, 1990, after signing a peace agreement between his guerrilla group and the Colombian government. Pizarro is portrayed by those who knew him, including his daughter, María José Pizarro, today a senator for the party Pacto Histórico and a role model of the Colombian diaspora memory activism. From a distance created by the exile of Carlos’ daughter, the director examines her father’s life and what his disappearance meant for everyone, opening a new path for memory and its recovery. Framed in Cultural Studies, the research follows a qualitative methodology in which formal and narrative processes, historical and contextual analyses are applied to the particularities of documentary films. This article arises from the interest in understanding how an audiovisual work can transform power structures. With this premise, Colombia’s armed conflict is manifested in the armed struggle and its representations, allowing us to explain what it has meant for Colombians. Documentary productions have been consolidated in Colombia as a framework for representing memory stories. We consider the processes of memory creation in which self-referential modes and the reflective gaze are used as tools for retrieving personal and collective memories. Pizarro adds to a plural story in a crucial collective memory exercise and becomes a symbol of fear in a radicalized country that discovers a chapter of history silenced by violence and intimidation, skillfully combining political, testimonial, biographical, and autobiographical features.

This research offers a sociocultural study of journalistic photography in Venezuela by reviewing images internationally recognized with the World Press Photo and Pulitzer Prizes. From the analysis and contextualization of journalistic and documentary photographs, the objective is to reflect on the social function and uses of the image in contemporary times. The corpus comprises images by Venezuelan or Venezuela-based photographers awarded the prizes mentioned: two individual and two series of photographs. The oldest is Héctor Rondón’s 1962 picture of El Porteñazo. The second photograph and the first of the series shared the context of the 2017 protests and riots against the government of Nicolás Maduro; their authors are Ronaldo Schemidt and Juan Barreto, respectively. The second series showed the victims of hunger and malnutrition in Venezuela and was published in The New York Times; its author is photojournalist Meridith Kohut. All these photographs have been studied using a matrix of analysis that delves into the conflicts and realities they portray, their intrinsic value as images, and their repercussion and projection. We conclude how the visualization of facts through photography and its international recognition affirms the possibilities of the image to approach reality and show its nuances and contrasts, as well as its denouncing value. The fact that these prizes were awarded long after the recorded events makes it possible to revisit the subjects they document, sometimes forgotten or displaced in the maelstrom of new events.

We present the results of an exploratory-descriptive study that aimed to know how people in Panama were informed during the pandemic (May 2021–January 2022), considering the digital divide and zero-rating practices through which mobile phone users access digital services free of cost. The study was conducted in four consecutive phases using a mixed methodology that included secondary data systematization, three online surveys, and eight in-person focus groups in six of the country’s ten provinces and two of the three indigenous regions with provincial rank. The findings reveal the emerging use of instant messaging applications and social media to obtain information on the country’s affairs, vast asymmetries in access to the different media and information channels, and little trust in their messages. In light of the theoretical references on the rights of recipients, the right to information, and the digital divide, the situations found could be a litany of territorial asymmetry, one of the expressions of social inequality in the country. Given the widespread use of instant messaging applications, especially WhatsApp, available free of charge in prepaid data plans, a specific study on the impact of zero-rating practices on information consumption seems necessary, especially in socially vulnerable populations in Panama and other countries where the digital divide is pronounced and this type of agreement exists between telephone companies and digital service platforms.

This paper investigates the transformations caused by the digital environment and social media within Chilean newsrooms. It focuses on three aspects: the impact of the digital environment on the practice of journalism, the use of social networks in the traditional media, and the professional routines’ opportunities and risks. We conducted a qualitative study based on 21 semi-structured in-depth interviews to explore the protagonist’s perceptions. Results show that, although the digital environment has put a strain on the traditional journalism role of gatekeeper, its fundamental aspects are still valid as pillars of the profession to preserve quality standards. Journalists and media outlets tend to see certain social media—such as Twitter, Facebook, and Instagram—as an opportunity to streamline their work and increase their reach, even though they recognize risks and threats that burden their independence and that come mainly from the pressure of the audience. Finally, media are using multiple strategies and protocols to face the dangers of the digital environment.

In a country where documentary photography tradition in the 20th century has been centralized in Cuzco, the foto-óleos produced between 1949 and 1950 by Ecuadorian Manuel Quiroz on Catacaos, a rural town on the northern coast of Peru, represent a novel case due to its formal and narrative characteristics and public reception during the second half of the 20th century. The article’s objective is to present this case using an identification methodology on the series of original foto-óleos dedicated to Catacaos and a context study based on the analysis of documents from Quiroz’s personal album about his public life in Peru. Due to the vast and heterogeneous recognition that the foto-óleo and the photographer had, we are facing an unprecedented instance in Peruvian and Latin American photography in which these images contributed to society acknowledging a regional history and identity in them.

This research takes as its subject matter the film La mujer sin cabeza by Lucrecia Martel (2008). Our case study will be a continuity error found during the third scene, where the main character, Verónica (María Onetto), has a traffic accident. Our goal is to identify the narrative consequences of this mistake within the film, accepting that such dissonance has a series of meaning implications affecting the film and creating a tonal atmosphere consistent with the director’s view. To explain the narrative consequences of such an error (seen as such under the Classical Continuity System), the methodology followed will be textual analysis, using the trace concept as guidance. In addition, the classification of sounds developed by Michel Chion in his book Audiovision (Sound on Screen) will be applied to the soundtrack.

The article addresses Rosângela Rennó’s artistic practice, relating it to the principles of contemporary historian practice. An overview of the different works in which the artist summons the past as a matter of imagination highlights strategies to bring up possible pasts that confront celebratory narratives of crystallized pasts. Therefore, we reflect on the relationship between artistic and historical practices as means for public histories. We follow a methodological path that begins with some parallels and approximations between visual arts and history to understand the potential uses of historical materials in the artist’s projects. Then, we consider the debates about the experiences of the ‘death of photography’ and the ‘end of history’ amid pictorial or visual turns as a generation phenomenon, concluding with a historical interpretation of Rennó’s works.

This text seeks to examine the performance work of Regina José Galindo. Our objective is to look at Galindo’s performance ¿Quién puede borrar las huellas? seeking to underline how political memory and affect—categories intrinsic to the work of Galindo—are at the core of a new emancipative language traceable in origin to the event. Embracing Alain Badiou’s concept of event, it is possible to present further questions about art and the possibility of its interaction with evental truths, moreover, to produce evental truths as part of art’s integral processes.

Estanislao Zuleta, Colombian thinker, helps in this writing as a interpretative basis, his books, conferences and classes, to show the understandings that arise within the social-educational field of Colombia; the approaches to the organizing concepts are related: absence of ethical subject and bad, within the Colombian educational field from the myth of Pandora, etymological revisions, relationships with other authors, different from Zuleta, and creation of neologism with Greco Latin base. The perception raised about the absence of an ethical subject is based on the interpretation of the subjects as acting and knowing the consequences of their actions, is not then an analysis of psychological or medical order, it is a unifocal interpretation that allows critical introspection about the subject, ethics and the possibility of recognizing human nature as the starting point of evil, achieving the subapopolis -neologism- as a product of evil. Education is briefly posed as part of an international whole that steers the course of what should be done, staying only with the global needs that lead to the unwanted but conscious kind of action. In the brevity of the text, finally, more guiding questions will be found than definitive answers, allowing opening of positions and possibilities.