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

This paper examines some paradoxes present in environmentally engaged art practices, language, and storytelling, exploring possible bifurcations capableof challenging current hegemonic worldviews. Using the concept of composting­with­care, we critique the anthropocentrism inherent in narratives incorporated into art discourses such as sustainability and, by examining transdisciplinary intersections between the body and techne in art, offer alternatives. With a focus in bio­techno and environmental art, the paper interrogates whether art can move beyond aura and denunciation and suggests that to enable alternative visions of the Anthropocene and inspire systemic change, art needs to incorporate ethics and more­than­human perspectives into its practice by engaging with local communities and fostering a sense of care, responsibility, and reciprocity. Going beyond aesthetic gestures of environmentalism, artistic praxis must foster an intersectional relationality that cares for epistemological diversity; for example, an artistic praxis model with a long history in the trans­local artistic networks of Latin America. Contrary to “sustainability”, this model seeks a plethora of bifurcations to bring about a pluralistic paradigm change. By situating artworks as points of intersection between actors in a mesh, artistic praxis may be understood as negentropic in its generation of multi­scalar diversity and co­becomings and thus curative of the trappings of algorithmic governance. We argue for an art that cares for relations between different actors: human and more­than­human, that cares for difference and that generates the frictions needed to effect change. An art that cares and also understands the importance of letting things be without human intervention.

The purpose of the article is to elucidate the relevance of the significant networks of language and discourse through the cultural and social semiotics of Lotman (1996), Verón (1987), Saussure (2008) and Pierce (1931). In this sense, it makes a historical preamble on the origin of Lotman’s cultural semiotics (1996), taking into account the study of semiospheres, semantics and semiotics in discursive narrative, properly. Likewise, the importance of socio­symbolic referents and the strength of the symbol in postmodern society, is considered as well as narrative identity as a representative element within language Paul Ricoeur (1990), since the subject through the word is an enunciator/attributor of its own reality­context. Likewise, the semiotic turn of Paolo Fabbri (2000), and the semiosis and social imaginary according to Hernández (2023), are deepened through imagination (the myth), narration (refoundation) and the aesthetic moment. The narrative and social imaginary marks a transcendental milestone in the art of postmodern symbols and codes captured in the semiospheres, a key aspect for the understanding and interpretation of social reality.

The following article demonstrates the evolution of the mask within Mexican society, where it passes from being an exclusive object of rituals and traditions to its sale as a simple object of decoration and consumption; between these two poles is the mask as part of the representation of the sport and the character to the world, being an object that represents the good use of the object in these two poles. The study of the evolution and appearance of the mask of the fighter within the historical can be analyzed through the change in materials for its construction and the meaning behind its use and imitation of the world around it. Evolution does not mean the disappearance of one pole over another; it is rather the adaptation of the religious object to social transformation for the survival of culture as a craft work.

A personal instrumental analysis of the film “Rampage: Devastation” is presented, reflecting on it as an instrument for ideological communication by considering it as a symptomatic element of processes of a social nature, with the possibility of also using its professional nature analysis, by giving it a public health approach under the vision of the One Health paradigm.

Photojournalist Sebastião Salgado (1944–2025) was renowned for his black-and-white series dedicated to labor (he became famous for his essay on the mines of Sierra Pelada, in Pará, Brazil), famine in Ethiopia, genocide in Rwanda, and other realities about the living conditions of the most vulnerable people in the many poor countries where he developed his vast photographic work. His photographs, charged with a mixture of emotion, beauty, and sadness, are published in books such as Other Americas (Contrejour and ELR, 1986), Workers (Phaidon, 1993), and in his projects Exodus (2005) and Genesis (2013), the latter dedicated to environmental protection.   Translated with DeepL.com (free version)

This article focuses on the distended experience of time through ecological artistic proposals, following Yves Citton‘s concept of an ecology of attention which promotes an attentive relationship with the world and others. The aesthetic experience and the possibility of distraction are conceived as conditions of perception enabling the reappropriation of time for collective sharing, this common experience is necessary in actual times.

This text describes the problems caused by the shrimp industry on Puná Island, both in terms of social and environmental impacts. At the same time, it reviews some of the theoretical and conceptual categories related to community, territory and buen vivir, as strategies of resistance to modern capitalist development.In this sense, it analyzes the mechanisms used by the island's communities in defense of their territories, and how they also propose economic and political alternatives in favor of the community and the mangrove ecosystem.

Editorial Vol 13, No. 1 Mayéutica revista científica de humanidades y artes.

Este artigo analisa o posicionamento dos BRICS sobre a temática da igualdade de gênero(ODS 5) da Agenda 2030, focando em suas posturas em cúpulas anuais e no Conselhode Direitos Humanos da ONU, entre 2015 e 2022. Apesar das críticas à ordem econômicaliberal, os BRICS, em geral, apoiam a agenda da igualdade de gênero, destacando temascomo prevenção da violência e tráfico de pessoas. No entanto, China e Rússia se opõem atemas como identidade de gênero e sexualidade, evidenciando uma resistência às visõesliberais ocidentais e uma

As reivindicações chinesas sobre o Mar do Sul da China, decisivas para a conjunturainternacional do século XXI, são vistas por alguns estudiosos de RI como uma das ameaçasdo país à paz e segurança internacionais. A análise de documentos oficiais do Ministériodas Relações Exteriores para justificar a posição chinesa sobre o MSC, porém, revelou umaestratégia jurídica sofisticada que contestaria esta visão. Ao se concentrar em evidênciascartográficas, históricas e linguísticas para validar suas reivindicações, a China pareceadotar uma estratégia de construção de confiança baseada no direito internacional pormeio de um conceito alternativo de legalidade.