Archives

  • OpenASRI. Misceláneous Journal
    No. 25 (2024)

    Explorations in Contemporary Art and Technology

    This issue of our academic journal offers a deep and multifaceted view of the intersections between contemporary art, technology, and culture. Through eleven articles, 30 authors, and more than 17 universities —4 of them international— we delve into various aspects that redefine artistic perception and practice in the current context. The first article examines post-digital recycling in contemporary art, highlighting the works of Almudena Lobera, Mario Santamaría, and Román Torre. Reappropriation strategies that subvert technological consumption habits are explored, creating hybrid objects that challenge traditional notions of art. Artificial intelligence and its impact on art is the central theme of the second article. Here, the debate on the legitimacy of AI-generated art is discussed, addressing issues of creativity, plagiarism, and the possible trivialization of art. This article contextualizes concerns and hopes about the integration of AI into human creativity. The third article presents a systematic review of the use of machine learning and computer vision algorithms in the preservation of cultural heritage. Various techniques and their transformative potential for the conservation of works of art are highlighted, offering a new perspective on the history and context of works of art. The fourth article examines information visualization in urban environments through artistic productions that configure a hypermediated city. Metaphors of physical-digital reality and how these productions impact the perception of the urban landscape are analyzed. The fifth article reflects on museums as learning spaces, based on collaborative research with the Andalusian Center for Contemporary Art. Malgorzata Mirga-Tas's exhibition is used as a case study to explore the educational and formative impact of museum experiences. The exploration of video art as a means of challenging gender stereotypes is the focus of the sixth article. It analyzes how women artists use video art to deconstruct gender narratives and promote a transformation in social perceptions. In the seventh article, multidisciplinary stage proposals that connect dance, body, video, and interactive devices are examined. How creation with code has transformed these practices is analyzed, highlighting their transdisciplinary potential. The eighth contribution narrates an educational practice in the use of generative AI in the university environment, exploring the relationship between texts and generated images and their impact on the creation of work materials and final projects. The ninth article details a lighting intervention using video mapping in vernacular buildings in Chile, highlighting the value of visual arts as tools for analysis and cultural appropriation. The analysis of the morphology of the Valdivia Culture in the tenth article offers a deep understanding of its ceramic forms, generating new graphic codes and contributing to contemporary visual literacy. Fhe eleventh article analyzes games as an artistic medium from aesthetic, symbolic, and narrative perspectives. Through surveys and observation, it evaluates public perception, showing positive changes towards interactivity and the appreciation of games as an art form. Finally, the last article examines the role of the cuplé, with José Padilla as one of its greatest exponents. This text analyzes the presence of the cuplé in three international films, highlighting its specific functions in their soundtracks. It concludes that Padilla's cuplé diverges from the cultural stereotype of Spain.

    Editors: Tomás Zarza &  Miguel Sánchez-Moñita

  • OpenASRI. Miscellaneous Number
    No. 24 (2023)

    The issue compiles the work of 6 researchers who address topics ranging from fashion film, visual misinformation on social networks, scientific photography applied to herbaria to pedagogy from art and artists. These research works converge in the exploration of various aspects of image and art from multiple perspectives.

    One of the essays highlights the role of color in fashionable audiovisual creations, showing how artists such as Sonia Delaunay and Eugenio Recuenco use visual technologies to express narratives in which color acquires a prominence comparable to that of the characters. Another text examines the phenomenon of misinformation on social networks, specifically on X (formerly Twitter). It addresses the issue of the spread of hoaxes in the context of migration, specifically in the Aquarius case, examining the spread of hoaxes through images manipulated or taken out of context, to support false information. The need for verification tools based on reverse image search is highlighted as a crucial measure to combat disinformation. The study on taxonomic photography in herbaria is another contribution that reveals the intersection between the classification of the natural world and its artistic representation and shows how the classification of the natural world has influenced both botanical photography and contemporary art. Furthermore, it proposes a critical re-reading of the representation of the plant kingdom, challenging the conventional perception of what is real and what is simulated through contemporary photographic projects. Finally, the pedagogical meaning of artistic disciplines is addressed from the artists' vision, demonstrating that beyond transmitting knowledge, these disciplines become tools that shape life philosophies, strengthen value systems, and generate a sense of freedom and passion. for artistic creation. Through a study with interviewed artists, it is possible to express how art contributes to the formation of their philosophy of life and strengthens our axiological system. Together, these works offer a comprehensive overview of the multiple dimensions of the image, from its function as a means of artistic expression in fashion to its role in contemporary misinformation and its influence on the visual representation of nature. These investigations focus on different aspects of image and art and converge to show how technology, visual representation, and artistic disciplines can influence each other, revealing new forms of expression and reinterpretation in the contemporary artistic field.

    Thus, we say goodbye to the year by thanking, as always, the entire open knowledge community, the authors for trusting in the project, and above all, our tireless blind evaluators, without whom we would not be able to maintain the journal. We also say goodbye to the year with the entry of ASRI into two large evaluative databases: Redalyc; ICI Index Copernicus Master List

    Editors: Tomás Zarza y  Miguel Sánchez Moñita

  • OPENASRIASRI. Miscellaneous Number
    No. 23 (2023)

    This number includes the works of ten researchers and four researchers who approach our cultural present from notions such as post-digitality, the veracity of the images, and the pose; all of them far from the classical deterministic vision and commonly associated with technological discourse. Speaking of technological influences, we published an article on the rise of the podcast in the academic field whose main objective is to formulate a character analysis methodology in radio fiction, applying it to the case study of the series Negra y Criminal, by Mona León Siminiani. We have also selected an investigation interested in the modes of institutional cinematographic representation, (M.I.R.) as defined by the film theorist Noël Burch, which transgresses the limits of the spatial dimension and which is analyzed in the article with the aim of drawing an intertextual approach. and intermedial to the scenographic conceptions that are also mixed and transferred between theater, painting, or cinema. In the line of visual narrative studies, we offer you a review of Basque video art from the eighties and nineties, as a key element for the development of video art at the state level and whose works stand out as those made from the reuse of images from magazines. feminine. Along the same lines, on the importance of visual narratives and the discourses of hegemonic history, we offer you an article on the cartographic contributions of the peoples subjected by colonization and marginalized by the visual regimes of the West that begin to come to light in the last decades. Counter-cartographic practices of representation that, —located at the limits of traditional cartography— are today used as tools of resistance in colonial and neocolonial narratives. Another proposal has to do with the imminent disappearance of the generation that lived through the civil war, together with the fear of losing their testimony, has generated new memory recovery processes focused on intergenerational transmission. The article analyzes these aspects taking as a starting point six works created during the first years of the s. XXI. To finish, we offer you a research paper on visual anthropology based on the analysis of an image by the local photographer from Alcántara (Cáceres) Remigio Mestre, whose central motif is a Renaissance window in which two aviary cages hang. Finally, we offer you a research paper on visual anthropology based on the analysis of some images by Remigio Mestre, a photographer from Alcantarino (Cáceres). Thank you very much and congratulations to all the people involved who make this open knowledge community possible because we are launching this issue with the FECYT 2023 seal, obtained in the 8th edition of the evaluation process of scientific journals and with indexing in SCOPUS.

    Editors: Tomás Zarza &  Miguel Sánchez Moñita

  • Portada del número misceláneo #OPENASRI 22

    OPENASRI. Miscellaneous Number
    No. 22 (2022)

    This number collects the research papers of researchers who, published in English and Spanish, map the fields of photography, music, art history, and design strategies. Papers that develop evaluation methodologies in the field of music; of the dissemination of history through Art; landscape photography from a gender perspective; the methods of production and reproduction of distinguished models of the IZO institute of artistic culture in Moscow and the analysis of methodologies and areas of action of strategic design. A set of varied and complementary investigations, which perfectly fit the interests of our journal. As always thanks to all the people who make this publication possible. We incorporate a new EPUB download format to guarantee the best reading of published texts on any electronic device without the need for uncomfortable zooming and scrolling on the screen.

    Editors: Tomás Zarza &  Miguel Sánchez Moñita

  • The image enters the scene. Digital creations in the scenic field, urban space and natural space
    No. 21 (2022)

    Theater, dance, opera, circus, music, and visual arts are building new cartographies in the performing arts thanks to the insertion of ICTs in their immersive shows and generating new audiences. Our cities are filled with screens that mediate our perception. How are these new technological expressions intervening in the relationship with our environment? Light Festivals are becoming more common in our cities, as are immersive shows. This democratization of aesthetic enjoyment based on technological proposals is associated with the risk of confusing the artistic work with its staging, often spectacular and markedly virtuosic, making it necessary to critically reflect on this phenomenon. New technologies allow complex relationships to be established between the image, the scenic, natural or urban space. Visual experiences leave the screens of our personal devices and conquer new supports, formats, and creative proposals. Digital photography and video projections and interactive lighting effects offer us multiple possibilities for creation, interpretation, and innovation in the construction of experiential spaces. All these new artistic manifestations generate innovative and multidisciplinary research proposals. From a critical artistic point of view, this open call brings together those researchers who have dealt with the use of digital and analog images to create spaces or transform existing ones in search of new meanings in the field of image cultures.

    Editorial coordination: Raquel Sardá and Vicente Alemany

    Direction and editing: Tomás Zarza and Miguel Sánchez Moñita

     

  • OPENASRI. Miscellaneous Number
    No. 20 (2021)

    This issue includes a set of open articles that have been sent to the ASRI magazine within its #OPENASRI section. A section that is not governed by the requirements of a Call for papers for a monographic topic.

    In this miscellaneous issue, 7 authors and researchers who have focused their work on fields as important as the limits of representation and the creative act; the segmented conception of time in contemporary artistic production; the vision of surrealism from a feminist perspective; the flirtation of painters like Pablo Picasso in the use of early 20th century vision technologies; the detailed study of the measurements of Goya's house where his Black Paintings were made; the autobiographical look at contemporary photography and finally, the analysis and importance of the art biennial system before the COVID-19 pandemic. We publish a new issue that was born with the aim of adding the different voices of research in Art without the impositions of monographic issues, with the aim of adding from the diversity of thought and the transversality of the branches of knowledge. So, we hope, as always, that you enjoy and learn from reading as we have. Thank you for reading us.

    Director and Editors: Jsoé Ramón Alcalá & Tomás Zarza

  • Portada del monográfico 19 Humanidad e incertidumbre

    Humanity and Uncertaninty
    No. 19 (2021)

    With these lines we want to present this new volume 19 of the ASRI magazine. Art and Society. It is difficult to evade the events that we are experiencing due to the COVID-19 pandemic and that affects all orders of our lives in very different ways. For this reason, and despite the difficulties of all kinds, we are very pleased to present this number that, in a certain way, aspires to the continuation and normality so longed for. As we pointed out in this issue's call for contributions, it's all happening very fast. Virilio's concept of acceleration –and the global accident– have taken shape on a planetary scale, so that the pandemic has placed us at the same time and globally in a multitude of spaces and places, including the spaces of thinking and writing. From the research objectives of the ASRI magazine, we have wanted to join it by inviting authors to reflect and give a place or an attempted response, through art and the humanities, to everything that, in a digital existence , still constitutes us as human beings. Thus, this 19th issue of ASRI magazine. Arte y Sociedad has a multidisciplinary and transdisciplinary vocation that we can find in the twelve contributions of this number and that are presented in the form of articles, essays and results of different artistic practices, and that make it a volume open to digital humanism. We do not want to finish without especially thanking all those people who have been part of this volume for their work, either in the authorship, or in the revision or editing of this issue: despite the numerous difficulties that we are encountering day by day, all of them have made a beautiful collaborative effort and have been able to find small –or big– moments to continue building these places where, once again, we can meet.

    Editorial coordination: Elena Battaner and Juan Alonso Iniesta

    Direction and editing: José Ramón Alcalá and Tomás Zarza

     

  • Paradigms of Audiovisual Narrative
    No. 18 (2020)

    It is often said that in the Odyssey all human thought is and fits. It is the journey of journeys, life, and therefore nothing escapes the Homeric poem, whether they are questions of philosophy, politics, ethics or culture. For a student of narrative, in particular, the story of Odysseus is the mold from which all possible stories come. And most importantly, the forge from which all the possible ways of telling those stories come out. Even the ones that don't exist yet. Homer is adventure and mystery, tragedy and drama, emotion and delay. He is "narrating for the pleasure of narrating" (García Gual, 2015, p. XI), and from that irrepressible passion that feeds his verses, the infinite branches of the tree of narratology flourish. The 14 articles selected from our monograph, out of a total of almost 40 contributions received, navigate those rivers that flow into that great "flow of images" that makes up contemporary times, and which was dealt with in the previous issue of our magazine. Cinema, photography, video games, design, architecture, journalism, advertising, marketing, academic research, teaching... No field of communication escapes the mutations of the new audiovisual narratives. As nothing, not even oneself, can escape from its Homeric condition.

    Editorial coordinators: Raúl Álvarez and Mario Rajas

    Directors and editors: José Ramón Alcalá and Tomás Zarza

  • Portada del monográfico 17 El Flujo de las imágenes

    Images Flow
    No. 17 (2019)

    This issue will dedicate its efforts to show a snapshot of all the theoretical and artistic practices that start and take the Internet as a social process of live exchange. A set of practices that use information flows as a form of social architecture, and that are capable of building knowledge from the circulation and collective spill of multiple knowledge.

    A principle of online action that ceases to be a means of transmission and becomes a support for thought and raw material for experimentation. If the traditional artist found his source of inspiration in nature, today we must take the internet as a plural space of events where space for representation, time, authorship, content, audience, artificial intelligences and other manifestations make up a new definition of art.

    The flows of the images in networks move us away from the old single-channel learning model that prepared us to be operators (time alienated), and they take us into a new paradigm where we are protagonists of our time.

    Editorial coordination: Tomás Zarza y Miguel Sánchez-Moñita

    Direction and editing: José Ramón Alcalá and Tomás Zarza