OJS (Centro de Investigação em Artes e Comunicação)
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Transformation of Traditional Media in Social Media and the Podcast Phenomenon
Full text linkThe aim of the study was to identify the impact of podcasts on the audience and media space in Kyrgyzstan, as well as to determine their place in the process of evolution of traditional media. The study analysed samples of Kyrgyz podcasts and data related to their broadcasting and distribution collected between 2020 and 2024. The study materials include Russian, and Kyrgyz language publications posted on various social media and podcast platforms such as Spotify, Player.fm and YouTube. The article provides a detailed study of the process of transformation of traditional media in Kyrgyzstan under the conditions of rapid development of digital technologies and globalization of information flows. The main focus is on podcasts as a new popular media format that plays a significant role in modern media practices. The research results showed that podcasts in Kyrgyzstan are becoming an important channel for disseminating information and discussing current social and political topics, providing audiences with flexibility, thematic diversity and the opportunity for active interaction. The trend of “obsolescence” of the traditional audio format of podcasts compared to the video format, as well as the trend of commercialization and significant improvement in the quality of podcasts (especially video formats) was noted. It was also noted that podcasts offer new opportunities for audience engagement, and their potential is significant for further development and transformation of the country’s media landscape
Freedom of expression from the perspective of young people: between the recognized right and the ignored voice
Full text linkA liberdade de expressão é um direito humano fundamental, sendo considerado por diversas convenções internacionais, nomeadamente a Convenção sobre os Direitos da Criança (1989), que reconhece, no artigo 12.º, que a criança tem o direito de exprimir livremente a sua opinião sobre questões que lhe digam respeito e de ver essa opinião tomada em consideração. Por seu lado, a UNESCO (Grizzle et al., 2021) reconhece-a como um valor e uma atitude que podem ser desenvolvidos e encorajados pelo trabalho da Literacia Mediática e da Informação. Estamos perante um direito essencial para o desenvolvimento pessoal e para a autodeterminação coletiva (Garton Ash, 2017).Neste artigo, analisamos a liberdade de expressão à luz das perspetivas de crianças e jovens, procurando conhecer como concetualizam e que valor atribuem a este direito fundamental. A análise baseia-se em dados provenientes de 31 grupos de foco, com um total de 206 estudantes do 6.º, 9.º e 12.º anos a frequentar escolas de Portugal continental. Os resultados indicam que os inquiridos reconhecem a importância da liberdade de expressão para si próprios e para a sociedade. No entanto, consideram que, no que diz respeito à expressão das suas opiniões, são livres de o fazer, mas muito frequentemente essas opiniões não são ouvidas nem consideradas pelos adultos e pelas instituições, com as maiores críticas a incidirem sobre a escola. Identifica-se uma disparidade entre o reconhecimento da importância da liberdade de expressão e a sua valorização e aplicação no quotidiano dos jovens.Freedom of expression is a fundamental human right and is recognised by various international conventions, including the Convention on the Rights of the Child (1989), which states in Article 12 that children have the right to freely express their opinion on matters that concern them and to have that opinion taken into account. For its part, UNESCO (Grizzle et al., 2021) recognises this as a value and attitude that can be developed and encouraged through the work of Media and Information Literacy. This is an essential right for personal development and collective self-determination (Garton Ash, 2017).In this article, we analyse freedom of expression from the perspective of children and young people, seeking to understand how they conceptualize and value this fundamental right. The analysis is based on data from 31 focus groups with a total of 206 6th, 9th and 12th grade students attending schools in mainland Portugal. The results indicate that the respondents recognize the importance of freedom of expression for themselves and for society. However, they consider that, when it comes to expressing their opinions, they are free to do so, but very often these opinions are not heard or considered by adults and institutions, with the greatest criticism falling on the school. There is a disparity between recognizing the importance of freedom of expression and valuing and applying it in young people’s daily lives.
In this article, we analyse freedom of expression from the perspective of children and young people, seeking to understand how they conceptualize and value this fundamental right. The analysis is based on data from 31 focus groups with a total of 206 6th, 9th and 12th grade students attending schools in mainland Portugal. The results indicate that the respondents recognize the importance of freedom of expression for themselves and for society, however, they consider that, when it comes to expressing their opinions, they are free to do so, but very often these opinions are not heard or considered by adults and institutions, with the greatest criticism falling on the school. There is a disparity between recognizing the importance of freedom of expression and valuing and applying it in young people's daily lives
Operativity and Intermittence: Light and Shadow in the Work of José Carlos Neves. Approaches to Interface, Process, Presence
Full text linkEste artigo procura dar conta da presença do interface e do seu uso negativo nas chamadas artes dos media, focando-se, para isso na obra artística de José Carlos Neves como caso paradigmático. Ainda que se perspective a totalidade a sua produção artística, o artigo centrar-se-á mormente nas obras 4 tempos para: (…) e Shadow Machine. Assim, será nosso objectivo mostrar como enquadrar o percurso e as obras anteriores como processo de isolamento do interface para com o computador, dado que a originalidade da sua obra, no contexto das artes dos media, se centra sempre a desarticulação ou deconstrução (Derrida, 1967; 1972; Nuyen, 1989) dos meios em que este assenta, como procuraremos mostrar. Em segundo lugar, procurar-se-á fazer um levantamento do uso da luz e da sombra nas obras supracitadas, tendo por referência o papel que as primeiras desempenharam na história da arte e do pensamento Ocidental enquanto metáforas fortes para determinar as relações de existência e não-existência e as suas zonas cinzentas.Se de um ponto de vista estético, a arte interactiva não reúne ainda um consenso universal na sua definição, é porque desde o ponto de vista da sua criação e da sua autoria, ela se apresenta já, como se apontará, como uma experiência pré-programada (Rafaeli, 1988). Mostraremos como a obra de José Carlos Neves se mobiliza como instrumento que possibilita um modo de mostrar a operatividade e a intermitência do processo artístico e da experiência estética.
Se de um ponto de vista estético, a arte interactiva não reúne ainda um consenso universal na sua definição, é porque desde o ponto de vista da sua criação e da sua autoria, ela se apresenta já, como se apontará, como uma experiência pré-programada (Rafaeli, 1988). Mostraremos como a obra de José Carlos Neves[1] se mobiliza como instrumento que possibilita um modo de mostrar a operatividade e a intermitência do processo artístico e da experiência estética.This article seeks to analyse the presence of the interface and its negative use in the so-called Media Arts, focusing on the artistic work of José Carlos Neves as a paradigmatic case. Although we are looking at his entire artistic production, the article will focus mainly on the works 4 tempos para: (…) and Shadow Machine. Thus, our aim will be to show how to frame his trajectory and previous works as a process of isolating the interface from the computer, given that the originality of his work, in the context of Media Arts, is always centred on the disarticulation or deconstruction (Derrida, 1967; 1972; Nuyen, 1989) of the media on which it is based, as we will try to show. Secondly, we will try to survey the use of light and shadow in the aforementioned pieces, with reference to the role they have played in the history of art and Western thought as strong metaphors for determining the relationship between existence and non-existence and their grey areas.
If, from an aesthetic point of view, interactive art does not yet have a universal consensus on its definition, it is because, from the point of view of its creation and authorship, it already presents itself, as will be pointed out, as a pre-programmed experience (Rafaeli, 1988). We will show how the work of José Carlos Neves is mobilised as an instrument that enables a way of showing the operativity and intermittence of the artistic process and aesthetic experience.This article seeks to analyse the presence of the interface and its negative use in the so-called Media Arts, focusing on the artistic work of José Carlos Neves as a paradigmatic case. Although we are looking at his entire artistic production, the article will focus mainly on the works 4 tempos para: (…) and Shadow Machine. Thus, our aim will be to show how to frame his trajectory and previous works as a process of isolating the interface from the computer, given that the originality of his work, in the context of Media Arts, is always centred on the disarticulation or deconstruction (Derrida, 1967; 1972; Nuyen, 1989) of the media on which it is based, as we will try to show. Secondly, we will try to survey the use of light and shadow in the aforementioned pieces, with reference to the role they have played in the history of art and Western thought as strong metaphors for determining the relationship between existence and non-existence and their grey areas.
If, from an aesthetic point of view, interactive art does not yet have a universal consensus on its definition, it is because, from the point of view of its creation and authorship, it already presents itself, as will be pointed out, as a pre-programmed experience (Rafaeli, 1988). We will show how the work of José Carlos Neves is mobilised as an instrument that enables a way of showing the operativity and intermittence of the artistic process and aesthetic experience.This article seeks to analyse the presence of the interface and its negative use in the so-called Media Arts, focusing on the artistic work of José Carlos Neves as a paradigmatic case. Although we are looking at his entire artistic production, the article will focus mainly on the works 4 tempos para: (…) and Shadow Machine. Thus, our aim will be to show how to frame his trajectory and previous works as a process of isolating the interface from the computer, given that the originality of his work, in the context of Media Arts, is always centred on the disarticulation or deconstruction (Derrida, 1967; 1972; Nuyen, 1989) of the media on which it is based, as we will try to show. Secondly, we will try to survey the use of light and shadow in the aforementioned pieces, with reference to the role they have played in the history of art and Western thought as strong metaphors for determining the relationship between existence and non-existence and their grey areas.
If, from an aesthetic point of view, interactive art does not yet have a universal consensus on its definition, it is because, from the point of view of its creation and authorship, it already presents itself, as will be pointed out, as a pre-programmed experience (Rafaeli, 1988). We will show how the work of José Carlos Neves is mobilised as an instrument that enables a way of showing the operativity and intermittence of the artistic process and aesthetic experience
The relationship between social networks and study habits among high school students in Encarnación, Paraguay
Full text linkDada la creciente influencia de las plataformas digitales transformando las dinámicas educativas y sociales de los jóvenes, este estudio identifica la relación entre el uso de redes sociales y los hábitos de estudio en estudiantes de Educación Escolar Básica (EEB) en Encarnación. La investigación se llevó a cabo en instituciones educativas de la ciudad de Encarnación durante el 2024, utilizando un enfoque cuantitativo. Se encuestó a 321 estudiantes de 7º a 9º grado, con una distribución equilibrada entre géneros (51,60% masculino, 48,40% femenino) y grados escolares. Las variables de estudio fueron: sexo, nivel escolar, uso de redes sociales y hábitos de estudio. Para el análisis de los datos, se empleó el SPSS v.22, aplicando la prueba de chi-cuadrado para evaluar la relación entre las variables, complementada con el cálculo del tamaño del efecto mediante V de Cramer. Los resultados indican que, en días hábiles, la mayoría de los estudiantes usa redes sociales por más de cinco horas diarias, mientras que una proporción menor las emplea entre tres y cuatro horas. Durante los fines de semana, el tiempo de uso superior a cinco horas aumenta significativamente, mientras que el uso moderado disminuye, lo que se refleja en el análisis de chi-cuadrado (χ² = 504.248, df = 25, p < 0.001, V = 0.56, potencia = 0.99). En cuanto a los hábitos de estudio, se observó que la mayoría de los adolescentes solo repasa los contenidos en períodos cercanos a los exámenes, con patrones diferenciados según el nivel educativo. El análisis estadístico reveló una asociación significativa entre el uso de redes sociales y los hábitos de estudio, como indica la prueba de chi-cuadrado (χ² = 82.916, df = 30, p < 0.001, V = 0.23, potencia = 0.92). En futuras investigaciones debería incorporarse metodologías cualitativas para profundizar en los intereses digitales de los estudiantes para diseñar estrategias pedagógicas que integren el uso de redes sociales en el proceso de enseñanza-aprendizaje, fortaleciendo la alfabetización digital y preparando a los jóvenes para los desafíos de un entorno tecnológico en constante evolución, a los que el sistema educativo no responde.Dada la creciente influencia de las plataformas digitales transformando las dinámicas educativas y sociales de los jóvenes, este estudio identifica la relación entre el uso de redes sociales y los hábitos de estudio en estudiantes de Educación Escolar Básica (EEB) en Encarnación. La investigación se llevó a cabo en instituciones educativas de la ciudad de Encarnación durante el 2024, utilizando un enfoque cuantitativo. Se encuestó a 321 estudiantes de 7º a 9º grado, con una distribución equilibrada entre géneros (51,60% masculino, 48,40% femenino) y grados escolares. Las variables de estudio fueron: sexo, nivel escolar, uso de redes sociales y hábitos de estudio. Para el análisis de los datos, se empleó el SPSS v.22, aplicando la prueba de chi-cuadrado para evaluar la relación entre las variables, complementada con el cálculo del tamaño del efecto mediante V de Cramer. Los resultados indican que, en días hábiles, la mayoría de los estudiantes usa redes sociales por más de cinco horas diarias, mientras que una proporción menor las emplea entre tres y cuatro horas. Durante los fines de semana, el tiempo de uso superior a cinco horas aumenta significativamente, mientras que el uso moderado disminuye, lo que se refleja en el análisis de chi-cuadrado (χ² = 504.248, df = 25, p < 0.001, V = 0.56, potencia = 0.99). En cuanto a los hábitos de estudio, se observó que la mayoría de los adolescentes solo repasa los contenidos en períodos cercanos a los exámenes, con patrones diferenciados según el nivel educativo. El análisis estadístico reveló una asociación significativa entre el uso de redes sociales y los hábitos de estudio, como indica la prueba de chi-cuadrado (χ² = 82.916, df = 30, p < 0.001, V = 0.23, potencia = 0.92). En futuras investigaciones debería incorporarse metodologías cualitativas para profundizar en los intereses digitales de los estudiantes para diseñar estrategias pedagógicas que integren el uso de redes sociales en el proceso de enseñanza-aprendizaje, fortaleciendo la alfabetización digital y preparando a los jóvenes para los desafíos de un entorno tecnológico en constante evolución, a los que el sistema educativo no responde.Dada la creciente influencia de las plataformas digitales transformando las dinámicas educativas y sociales de los jóvenes, este estudio identifica la relación entre el uso de redes sociales y los hábitos de estudio en estudiantes de Educación Escolar Básica (EEB) en Encarnación. La investigación se llevó a cabo en instituciones educativas de la ciudad de Encarnación durante el 2024, utilizando un enfoque cuantitativo. Se encuestó a 321 estudiantes de 7º a 9º grado, con una distribución equilibrada entre géneros (51,60% masculino, 48,40% femenino) y grados escolares. Las variables de estudio fueron: sexo, nivel escolar, uso de redes sociales y hábitos de estudio. Para el análisis de los datos, se empleó el SPSS v.22, aplicando la prueba de chi-cuadrado para evaluar la relación entre las variables, complementada con el cálculo del tamaño del efecto mediante V de Cramer. Los resultados indican que, en días hábiles, la mayoría de los estudiantes usa redes sociales por más de cinco horas diarias, mientras que una proporción menor las emplea entre tres y cuatro horas. Durante los fines de semana, el tiempo de uso superior a cinco horas aumenta significativamente, mientras que el uso moderado disminuye, lo que se refleja en el análisis de chi-cuadrado (χ² = 504.248, df = 25, p < 0.001, V = 0.56, potencia = 0.99). En cuanto a los hábitos de estudio, se observó que la mayoría de los adolescentes solo repasa los contenidos en períodos cercanos a los exámenes, con patrones diferenciados según el nivel educativo. El análisis estadístico reveló una asociación significativa entre el uso de redes sociales y los hábitos de estudio, como indica la prueba de chi-cuadrado (χ² = 82.916, df = 30, p < 0.001, V = 0.23, potencia = 0.92). En futuras investigaciones debería incorporarse metodologías cualitativas para profundizar en los intereses digitales de los estudiantes para diseñar estrategias pedagógicas que integren el uso de redes sociales en el proceso de enseñanza-aprendizaje, fortaleciendo la alfabetización digital y preparando a los jóvenes para los desafíos de un entorno tecnológico en constante evolución, a los que el sistema educativo no responde
A reading of the unreadable book: Xu Bing’s Book from the Sky
Full text linkXu Bing’s installation Book from the Sky (天书 Tianshu) has been the subject of many different interpretations. What does this imposing artwork seek to convey, when its hundreds of books, posters, and scrolls, are full of four thousand invented “characters” that have no literal meaning and cannot even be read? I begin by describing the installation and then proceed to situate it in the time of its inception, China in the 1980s, as it was a product of that decade. Next, I present my interpretation of this artwork, which emphasizes, not sociopolitical aspects, nor influences by Western thinkers or theoretical currents, but its connexion to Chinese culture. Crossing Zen with the specificities of the Chinese script allows me to argue that Tianshu is ultimately about the Chinese script and points towards the visual dimensions of Chinese traditional thought
Male Gaze and Female Gaze in the music industry. Analysis of the MTV Music Awards Song of the Year winning videos
Full text linkEl artículo examina la evolución del gaze en los videoclips galardonados en la categoría Mejor Canción del Año de los MTV Video Music Awards (VMA) en dos periodos históricos: la etapa fundacional de la cadena (1984-2000) y la producción contemporánea (2020-2024). El objetivo es identificar las continuidades y transformaciones en la forma en que se configuran las miradas audiovisuales que median la representación de las artistas femeninas. El corpus está compuesto por diez videoclips seleccionados por su relevancia mediática, organizados de manera comparativa entre ambos bloques. La metodología empleada es el análisis de contenido, apoyado en una matriz de observación que permitió sistematizar elementos narrativos, estéticos y simbólicos en las producciones estudiadas. Los resultados muestran que en la primera etapa predomina el male gaze, con videoclips que reproducen esquemas de sexualización y subordinación de las mujeres, asociados a una lógica visual centrada en la objetivación y el deseo masculino. En contraste, en el periodo contemporáneo emergen expresiones vinculadas al female gaze, con un mayor protagonismo de las artistas en la construcción de sus narrativas, lo que permite visibilizar experiencias, emociones y subjetividades propias. Sin embargo, estas transformaciones no implican una ruptura total: persisten elementos heredados del male gaze y la industria musical continúa operando bajo dinámicas de mercado que condicionan la diversidad de cuerpos, identidades y estéticas representadas. El estudio concluye que los VMA funcionan como un espacio de alta visibilidad cultural donde el female gaze se presenta como una alternativa transformadora, aunque aún tensionada por estructuras mediáticas y comerciales de exclusión.The article examines the evolution of gaze in music videos that won the MTV Video Music Awards (VMA) for Best Song of the Year in two historical periods: the channel’s founding period (1984–2000) and contemporary production (2020–2024). The objective is to identify continuities and transformations in the way audiovisual gazes are configured to mediate the representation of female artists. The corpus consists of ten music videos selected for their media relevance, organized in a comparative manner between the two blocks. The methodology used is content analysis, supported by an observation matrix that allowed for the systematization of narrative, aesthetic, and symbolic elements in the productions studied. The results show that in the first stage, the male gaze predominates, with music videos that reproduce patterns of sexualization and subordination of women, associated with a visual logic centered on objectification and male desire. In contrast, in the contemporary period, expressions linked to the female gaze emerge, with a greater role for female artists in the construction of their narratives, which allows them to make their own experiences, emotions, and subjectivities visible. However, these transformations do not imply a total break: elements inherited from the male gaze persist, and the music industry continues to operate under market dynamics that condition the diversity of bodies, identities, and aesthetics represented. The study concludes that the VMAs function as a space of high cultural visibility where the female gaze is presented as a transformative alternative, although still constrained by exclusionary media and commercial structures.The article examines the evolution of gaze in music videos that won the MTV Video Music Awards (VMA) for Best Song of the Year in two historical periods: the channel’s founding period (1984–2000) and contemporary production (2020–2024). The objective is to identify continuities and transformations in the way audiovisual gazes are configured to mediate the representation of female artists. The corpus consists of ten music videos selected for their media relevance, organized in a comparative manner between the two blocks. The methodology used is content analysis, supported by an observation matrix that allowed for the systematization of narrative, aesthetic, and symbolic elements in the productions studied. The results show that in the first stage, the male gaze predominates, with music videos that reproduce patterns of sexualization and subordination of women, associated with a visual logic centered on objectification and male desire. In contrast, in the contemporary period, expressions linked to the female gaze emerge, with a greater role for female artists in the construction of their narratives, which allows them to make their own experiences, emotions, and subjectivities visible. However, these transformations do not imply a total break: elements inherited from the male gaze persist, and the music industry continues to operate under market dynamics that condition the diversity of bodies, identities, and aesthetics represented. The study concludes that the VMAs function as a space of high cultural visibility where the female gaze is presented as a transformative alternative, although still constrained by exclusionary media and commercial structures.The article examines the evolution of gaze in music videos that won the MTV Video Music Awards (VMA) for Best Song of the Year in two historical periods: the channel’s founding period (1984–2000) and contemporary production (2020–2024). The objective is to identify continuities and transformations in the way audiovisual gazes are configured to mediate the representation of female artists. The corpus consists of ten music videos selected for their media relevance, organized in a comparative manner between the two blocks. The methodology used is content analysis, supported by an observation matrix that allowed for the systematization of narrative, aesthetic, and symbolic elements in the productions studied. The results show that in the first stage, the male gaze predominates, with music videos that reproduce patterns of sexualization and subordination of women, associated with a visual logic centered on objectification and male desire. In contrast, in the contemporary period, expressions linked to the female gaze emerge, with a greater role for female artists in the construction of their narratives, which allows them to make their own experiences, emotions, and subjectivities visible. However, these transformations do not imply a total break: elements inherited from the male gaze persist, and the music industry continues to operate under market dynamics that condition the diversity of bodies, identities, and aesthetics represented. The study concludes that the VMAs function as a space of high cultural visibility where the female gaze is presented as a transformative alternative, although still constrained by exclusionary media and commercial structures
The Sheep Manifesto: Wool, Women, and the Invisible Thread
Full text linkEste texto propõe uma reflexão sobre a materialidade da lã como testemunha silenciosa da história das mulheres, conectando a produção têxtil ao contexto rural e à invisibilidade do trabalho feminino. Desenvolvido a partir da metodologia em art based research, o texto entrelaça teoria e prática artística, envolvendo experiências e trabalhos da própria autora como parte do processo investigativo. Destaca o processo de manufatura têxtil que é apagado pelo mercado, que valoriza apenas o produto. O texto dialoga com Donna Haraway, refletindo sobre a interdependência entre o humano e o não-humano, e como as relações de poder e violência estão imbricadas na produção têxtil, especialmente no trabalho das mulheres. O texto também aborda o trabalho das tapeteiras de Arraiolos, a desvalorização das práticas femininas e a construção social da feminilidade através do bordado, com base em teorias de Roszika Parker e Lucy R. Lyppard, questiona a marginalização de práticas artísticas femininas e, ao trabalhar com lã e bordado, a autora cria uma ambiguidade entre presença e ausência, refletindo sobre a violência intercultural e interespécies. Por fim, neste texto provoco uma conexão com a literatura, utilizando a epígrafe de Clarice Lispector e o poema de Sylvia Plath para destacar a busca pelo autoconhecimento e a desconstrução das fronteiras entre o humano e o não-humano.This text proposes a reflection on the materiality of wool as a silent witness to women’s history, connecting textile production to the rural context and the invisibility of female labor. Developed from art based research methodology, the text interweaves theory and artistic practice, incorporating the author’s own experiences and artworks as part of the investigative process. It highlights the textile manufacturing process that is often erased by the market, which values only the final product. The text engages with Donna Haraway’s ideas, reflecting on the interdependence between the human and the non-human, and how power dynamics and violence are embedded in textile production, particularly in women’s labor. It also discusses the work of the Arraiolos rug weavers, the devaluation of feminine practices, and the social construction of “femininity” through embroidery, drawing on the theories of Rozsika Parker and Lucy R. Lippard, questions the marginalization of artistic practices historically associated with women, and through the use of wool and embroidery, the author creates an ambiguity between presence and absence, reflecting on intercultural and interspecies violence. Finally, it connects with literature, using an epigraph by Clarice Lispector and a poem by Sylvia Plath to highlight the search for self-knowledge and the dismantling of boundaries between the human and the non-human.This text proposes a reflection on the materiality of wool as a silent witness to women’s history, connecting textile production to the rural context and the invisibility of female labor. Developed from art based research methodology, the text interweaves theory and artistic practice, incorporating the author’s own experiences and artworks as part of the investigative process. It highlights the textile manufacturing process that is often erased by the market, which values only the final product. The text engages with Donna Haraway’s ideas, reflecting on the interdependence between the human and the non-human, and how power dynamics and violence are embedded in textile production, particularly in women’s labor. It also discusses the work of the Arraiolos rug weavers, the devaluation of feminine practices, and the social construction of “femininity” through embroidery, drawing on the theories of Rozsika Parker and Lucy R. Lippard, questions the marginalization of artistic practices historically associated with women, and through the use of wool and embroidery, the author creates an ambiguity between presence and absence, reflecting on intercultural and interspecies violence. Finally, it connects with literature, using an epigraph by Clarice Lispector and a poem by Sylvia Plath to highlight the search for self-knowledge and the dismantling of boundaries between the human and the non-human.This text proposes a reflection on the materiality of wool as a silent witness to women’s history, connecting textile production to the rural context and the invisibility of female labor. Developed from art based research methodology, the text interweaves theory and artistic practice, incorporating the author’s own experiences and artworks as part of the investigative process. It highlights the textile manufacturing process that is often erased by the market, which values only the final product. The text engages with Donna Haraway’s ideas, reflecting on the interdependence between the human and the non-human, and how power dynamics and violence are embedded in textile production, particularly in women’s labor. It also discusses the work of the Arraiolos rug weavers, the devaluation of feminine practices, and the social construction of “femininity” through embroidery, drawing on the theories of Rozsika Parker and Lucy R. Lippard, questions the marginalization of artistic practices historically associated with women, and through the use of wool and embroidery, the author creates an ambiguity between presence and absence, reflecting on intercultural and interspecies violence. Finally, it connects with literature, using an epigraph by Clarice Lispector and a poem by Sylvia Plath to highlight the search for self-knowledge and the dismantling of boundaries between the human and the non-human
Risk's perception of the minors regarding the use of technologies: influence of different variables
Full text linkEn la era de la sociedad y el conocimiento, las herramientas digitales nos acompañan desde una corta edad con las consecuencias que puedan conllevar para el desarrollo infantil y el impacto que pueda suponer en la etapa de la adolescencia. El objetivo de esta investigación es conocer la percepción de los riesgos relacionados con el uso problemático de las TIC por parte de los menores escolarizados, así como la influencia que pueden tener los mismos con las distintas variables sociodemográficas de los progenitores y la posesión o la frecuencia de uso de los dispositivos móviles. Empleando una metodología cuantitativa, se utilizó un cuestionario sobre una muestra de 273 escolares de tres provincias diferentes de la Comunidad Autónoma de Andalucía (España). Los resultados muestran una percepción de los riesgos medio-baja, una relación significativa con la formación de los cuidadores principales e interesantes asociaciones como la relación entre la tenencia de teléfonos móviles con el sexting o el tiempo de uso diario con los problemas de adicción. En relación a los datos obtenidos, se concluye con la importancia de formar tanto a los escolares como a las madres y los padres o tutores sobre los peligros que existen y cómo prevenirlos a través de la mediación parental y la competencia mediática. Los resultados muestran una percepción de los riesgos media-baja, una relación significativa con la formación de los cuidadores principales, así como interesantes asociaciones, como la relación entre la tenencia de teléfonos móviles y el sexting, o el tiempo de uso diario y los problemas de adicción.In today’s knowledge-based society, digital tools are integrated into our lives from an early age, with the potential consequences that they may have on child development and the impact they can have during adolescence. The aim of this research is to examine the perception of risks related to the problematic use of ICTs by school-aged minors, as well as the influence that various sociodemographic variables of the parents and the ownership or frequency of mobile device use may have. A quantitative methodology was employed, with a questionnaire was administered to a sample of 273 students from three different provinces of the Autonomous Community of Andalusia (Spain). The results reveal a medium-low perception of risks, a significant relationship with the educational level of the primary caregivers, and interesting associations, such as the connection between owning mobile phones and sexting, or the amount of daily usage with addiction-related issues. Based on the findings, it is concluded that it is crucial to educate both schoolchildren and parents/guardians about the existing dangers and how to prevent them through parental mediation and media literacy.In today’s knowledge-based society, digital tools are integrated into our lives from an early age, with the potential consequences that they may have on child development and the impact they can have during adolescence. The aim of this research is to examine the perception of risks related to the problematic use of ICTs by school-aged minors, as well as the influence that various sociodemographic variables of the parents and the ownership or frequency of mobile device use may have. A quantitative methodology was employed, with a questionnaire was administered to a sample of 273 students from three different provinces of the Autonomous Community of Andalusia (Spain). The results reveal a medium-low perception of risks, a significant relationship with the educational level of the primary caregivers, and interesting associations, such as the connection between owning mobile phones and sexting, or the amount of daily usage with addiction-related issues. Based on the findings, it is concluded that it is crucial to educate both schoolchildren and parents/guardians about the existing dangers and how to prevent them through parental mediation and media literacy
Thick Stories – an Historian Taking Personal Stories Seriously
Full text linkAccounts of events, whether reportage, history or myth, are inseparable from the stories of those giving the account. This paper will look at the relationship between personal stories, journalism and history, suggesting that only an approach that includes individual stories, prosopographical detail and objective data can provide the “thick” retelling of events necessary to give a satisfactory account of events described, remembered or imagined. The argument will be illustrated by reference to three historical figures: John Henry Newman, Charles De Gaulle and António Salazar.Os relatos de acontecimentos – sejam reportagens, narrativas históricas ou mitos – são intrinsecamente inseparáveis das histórias de vida de quem os relata. Este artigo examina a complexa inter-relação entre histórias pessoais, jornalismo e história, argumentando que apenas uma abordagem que integre narrativas individuais, dados prosopográficos detalhados e informações objetivas pode oferecer uma reconstituição “densa” dos eventos, essencial para uma descrição plena e satisfatória dos acontecimentos narrados, lembrados ou imaginados. Este argumento será ilustrado através da análise de três figuras históricas emblemáticas: John Henry Newman, Charles de Gaulle e António Salazar