OJS (Centro de Investigação em Artes e Comunicação)
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Bataller, A., Hernández Gassó, H. i Torrents, J. (eds.) (2024) Geografies literàries. Noves mirades socials i educatives. Tirant lo Blanch (462 p.) / Quer, P. (ed.) (2022) Teoria i pràctica de les Geografies Literàries. Eumo (267 p.).
Full text linkMY MONO NO AWARE – Um passeio sonoro interativo para a promoção de autorreconhecimento
Full text linkThis article presents the process of designing, implementing and testing, albeit with a limited audience, an interactive audiovisual artefact. Inspired by the concepts of soundscape and soundwalk, the artefact uses an empirical method of exploring sound environments for the perception and understanding of human daily practices. Through the combination of sound, generative and digital media art, this artefact aims to exemplify a method of construction of individual sound representations, testing, afterwards, the degree of self-recognition of the portrayed individuals. Supported by a qualitative methodological approach of ethnographic and phenomenological nature, the artefact is developed according to the a/r/cographic method, being this article a concretization of the final stage of that method.This article presents the process of designing, implementing and testing, albeit with a limited audience, an interactive audiovisual artefact. Inspired by the concepts of soundscape and soundwalk, the artefact uses an empirical method of exploring sound environments for the perception and understanding of human daily practices. Through the combination of sound, generative and digital media art, this artefact aims to exemplify a method of construction of individual sound representations, testing, afterwards, the degree of self-recognition of the portrayed individuals. Supported by a qualitative methodological approach of ethnographic and phenomenological nature, the artefact is developed according to the a/r/cographic method, being this article a concretization of the final stage of that method.This article presents the process of designing, implementing and testing, albeit with a limited audience, an interactive audiovisual artefact. Inspired by the concepts of soundscape and soundwalk, the artefact uses an empirical method of exploring sound environments for the perception and understanding of human daily practices. Through the combination of sound, generative and digital media art, this artefact aims to exemplify a method of construction of individual sound representations, testing, afterwards, the degree of self-recognition of the portrayed individuals. Supported by a qualitative methodological approach of ethnographic and phenomenological nature, the artefact is developed according to the a/r/cographic method, being this article a concretization of the final stage of that method.Este artigo apresenta o processo de conceção, implementação e teste, ainda que com um público limitado, de um artefacto audiovisual interativo. Inpirado nos conceitos de soundscape e soundwalk, o artefato utiliza um método empírico de exploração de ambientes sonoros para a perceção e compreensão das práticas diárias humanas. Através da combinação da arte sonora, generativa e média-arte digital, este artefacto visa exemplificar um método de construção de representações sonoras individuais, testando, posteriormente, o grau de autorreconhecimento dos indivíduos retratados. Suportado numa abordagem metodológica qualitativa de cariz etnográfico e fenomenológico, o artefacto é desenvolvido segundo o método a/r/cográfico, constituindo o presente artigo uma concretização da etapa final daquele método
Secção de Cinema do Orfeão: the awakening of film culture in Covilhã and its links with Salamanca
Full text linkThis article proposes, within the context of film club relations between Spain and Portugal during the 1950s and 1960s, to rescue and expose the existence of the Secção de Cinema do Orfeão da Covilhã, founded in 1957. This was the first Covillanense cultural experience with cinema. In the second part of the article, the relationship he maintained with the University Film Club of the SEU of Salamanca (CUSS), the greatest exponent of Spanish cinema club during this time, will be revealed. The epistolary documentation found in the archives of these institutions indicates that the reciprocal transfer of cinematographic and bibliographic works became one of the arteries that nourished both cinematographic realities in very similar political, social and cultural contexts. There were some activities, such as the 1958 Cineclubista Exhibition in Covilhã or the 232nd session of the Film Club of Salamanca, which served to strengthen ties and begin to talk about a possible Iberian film club.Este artículo propone, dentro del contexto de relaciones cineclubistas entre España y Portugal durante las décadas de 1950 y 1960, rescatar y exponer la existencia de la Secção de Cinema do Orfeão da Covilhã, fundada en 1957. Esta supuso el primer acercamiento cultural al cine en Covilhã. En la segunda parte del artículo se desvelará la relación que mantuvo con el Cineclub Universitario del SEU de Salamanca, máximo exponente del cineclubismo universitario español durante los años cincuenta y sesenta. La documentación epistolar hallada en los archivos de estas instituciones, indica que el trasvase recíproco de obras fílmicas y bibliográficas, en contextos políticos, sociales y culturales muy similares, se convirtió en una de las arterias que nutrieron ambas realidades. Hubo algunas actividades, como la Exposição Cineclubista de 1958 en Covilhã o la sesión 232 del Cineclub de Salamanca, que sirvieron para afianzar los lazos y comenzar a hablar de un posible cineclubismo ibérico.This article proposes, within the context of film club relations between Spain and Portugal during the 1950s and 1960s, to rescue and expose the existence of the Secção de Cinema do Orfeão da Covilhã, founded in 1957. This was the first Covillanense cultural experience with cinema. In the second part of the article, the relationship he maintained with the University Film Club of the SEU of Salamanca (CUSS), the greatest exponent of Spanish cinema club during this time, will be revealed. The epistolary documentation found in the archives of these institutions indicates that the reciprocal transfer of cinematographic and bibliographic works became one of the arteries that nourished both cinematographic realities in very similar political, social and cultural contexts. There were some activities, such as the 1958 Cineclubista Exhibition in Covilhã or the 232nd session of the Film Club of Salamanca, which served to strengthen ties and begin to talk about a possible Iberian film club.This article proposes, within the context of film club relations between Spain and Portugal during the 1950s and 1960s, to rescue and expose the existence of the Secção de Cinema do Orfeão da Covilhã, founded in 1957. This was the first Covillanense cultural experience with cinema. In the second part of the article, the relationship he maintained with the University Film Club of the SEU of Salamanca (CUSS), the greatest exponent of Spanish cinema club during this time, will be revealed. The epistolary documentation found in the archives of these institutions indicates that the reciprocal transfer of cinematographic and bibliographic works became one of the arteries that nourished both cinematographic realities in very similar political, social and cultural contexts. There were some activities, such as the 1958 Cineclubista Exhibition in Covilhã or the 232nd session of the Film Club of Salamanca, which served to strengthen ties and begin to talk about a possible Iberian film club
Sopralluoghi in Palestina per Il Vangelo secondo Matteo: The film essay of confession in Pasolini
Full text linkPier Paolo Pasolini, during his film production in the 60s and 70s, directed a series of documentaries with a clear essayistic character, as he tried to answer some philosophical questions from the first person, while seeking an audiovisual relevance. The Italian director immerses himself in a filmic writing in progress, as these works were references for future films, appunti. Specifically, Supralluoghi in Palestina per Il Vangelo secondo Matteo (1964), becomes a research that would crystalise in a fiction film, Il vangelo secondo Matteo (1964), a feature film that he would make the same year.For this research we have taken as our starting point genetic criticism, Foucault’s “Technologies of the self” and María Zambrano’s idea of confession. In this way, we will address the characteristics that define this work in itself and how, at the same time, it is reflected in a material of analysis for the creative processes of filmmaking. Furthermore, we will unfold the coincidences with the filmic work of Debord, Godard and Marker, which will allow us to talk about the filmic essay of confession.Pier Paolo Pasolini, durante su producción cinematográfica en los años 60 y 70, dirigió una serie de documentales con un claro carácter ensayístico, ya que desde la primera persona intentaba responder a algunos interrogantes filosóficos procurando una pertinencia audiovisual. El director italiano se sumerge en una escritura fílmica en curso, ya que estas obras eran referencias para próximas películas, appunti. En concreto Supralluoghi in Palestina per Il Vangelo secondo Matteo (1964), se convierte en una investigación que cristalizaría en una película de ficción, Il vangelo secondo Matteo (1964) largometraje que realizaría el mismo año.Para la investigación hemos partido de la crítica genética, las «Technologies of the self» de Foucault y la idea de confesión de María Zambrano. De tal forma, que se abordan las características que definen esta obra en sí y cómo, al mismo tiempo, se refleja en un material de análisis para los procesos creativos cinematográficos. Además, se desplegarán las coincidencias con el trabajo fílmico de Debord, Godard y Marker, lo cual nos permitirá hablar del ensayo fílmico de confesión.Pier Paolo Pasolini, during his film production in the 60s and 70s, directed a series of documentaries with a clear essayistic character, as he tried to answer some philosophical questions from the first person, while seeking an audiovisual relevance. The Italian director immerses himself in a filmic writing in progress, as these works were references for future films, appunti. Specifically, Supralluoghi in Palestina per Il Vangelo secondo Matteo (1964), becomes a research that would crystalise in a fiction film, Il vangelo secondo Matteo (1964), a feature film that he would make the same year.For this research we have taken as our starting point genetic criticism, Foucault’s “Technologies of the self” and María Zambrano’s idea of confession. In this way, we will address the characteristics that define this work in itself and how, at the same time, it is reflected in a material of analysis for the creative processes of filmmaking. Furthermore, we will unfold the coincidences with the filmic work of Debord, Godard and Marker, which will allow us to talk about the filmic essay of confession.Pier Paolo Pasolini, during his film production in the 60s and 70s, directed a series of documentaries with a clear essayistic character, as he tried to answer some philosophical questions from the first person, while seeking an audiovisual relevance. The Italian director immerses himself in a filmic writing in progress, as these works were references for future films, appunti. Specifically, Supralluoghi in Palestina per Il Vangelo secondo Matteo (1964), becomes a research that would crystalise in a fiction film, Il vangelo secondo Matteo (1964), a feature film that he would make the same year.For this research we have taken as our starting point genetic criticism, Foucault’s “Technologies of the self” and María Zambrano’s idea of confession. In this way, we will address the characteristics that define this work in itself and how, at the same time, it is reflected in a material of analysis for the creative processes of filmmaking. Furthermore, we will unfold the coincidences with the filmic work of Debord, Godard and Marker, which will allow us to talk about the filmic essay of confession
Vendo fantasmas: o ato de criação queer em Lembro mais dos Corvos
Full text linkThinking of a queer cinema means reflecting on how film, using its aesthetic-narrative strategies, can contribute to the antinormativity, disruption and destabilization of rigid standards of gender and sexuality. Based on the notion that a series of contemporary movies fulfills this goal by focusing on a queer creative act (Silva, 2021), this paper intends to identify this act in Brazilian contemporary cinema, specifically in the omniscient filmic gaze of trans actress and screenwriter Julia Katharine in the documentary I Remember the Crows (Gustavo Vinagre: 2018). Combining an exercise of film analysis with the methodology proposed by the Filmmakers’ Theory (Penafria, Baggio, Graça & Araujo, 2016), the investigation aims to examine how the dialogue of gazes staged by Katharine and Vinagre in the movie, a clash performed like a pas de deux, in/subverts not only the historical subject/object relationship in documentary production, but also the very tradition of objectification and/or erasure of trans bodies by cinema. Through her storytelling skills and her vast film knowledge, the protagonist establishes a co-authorship collaboration with the filmmaker, which makes the trans body, and the trans gaze, subjects of the narrative. As a result, Crows abandons the outdated notion of documentary as a genre in which reality simply happens and is captured by the genius gaze of the director, underlining the mise-en-scène and the filmmaking aspects inherent to the movie – and how Katharine is co-responsible for their creation.Thinking of a queer cinema means reflecting on how film, using its aesthetic-narrative strategies, can contribute to the antinormativity, disruption and destabilization of rigid standards of gender and sexuality. Based on the notion that a series of contemporary movies fulfills this goal by focusing on a queer creative act (Silva, 2021), this paper intends to identify this act in Brazilian contemporary cinema, specifically in the omniscient filmic gaze of trans actress and screenwriter Julia Katharine in the documentary I Remember the Crows (Gustavo Vinagre: 2018). Combining an exercise of film analysis with the methodology proposed by the Filmmakers’ Theory (Penafria, Baggio, Graça & Araujo, 2016), the investigation aims to examine how the dialogue of gazes staged by Katharine and Vinagre in the movie, a clash performed like a pas de deux, in/subverts not only the historical subject/object relationship in documentary production, but also the very tradition of objectification and/or erasure of trans bodies by cinema. Through her storytelling skills and her vast film knowledge, the protagonist establishes a co-authorship collaboration with the filmmaker, which makes the trans body, and the trans gaze, subjects of the narrative. As a result, Crows abandons the outdated notion of documentary as a genre in which reality simply happens and is captured by the genius gaze of the director, underlining the mise-en-scène and the filmmaking aspects inherent to the movie – and how Katharine is co-responsible for their creation.Thinking of a queer cinema means reflecting on how film, using its aesthetic-narrative strategies, can contribute to the antinormativity, disruption and destabilization of rigid standards of gender and sexuality. Based on the notion that a series of contemporary movies fulfills this goal by focusing on a queer creative act (Silva, 2021), this paper intends to identify this act in Brazilian contemporary cinema, specifically in the omniscient filmic gaze of trans actress and screenwriter Julia Katharine in the documentary I Remember the Crows (Gustavo Vinagre: 2018). Combining an exercise of film analysis with the methodology proposed by the Filmmakers’ Theory (Penafria, Baggio, Graça & Araujo, 2016), the investigation aims to examine how the dialogue of gazes staged by Katharine and Vinagre in the movie, a clash performed like a pas de deux, in/subverts not only the historical subject/object relationship in documentary production, but also the very tradition of objectification and/or erasure of trans bodies by cinema. Through her storytelling skills and her vast film knowledge, the protagonist establishes a co-authorship collaboration with the filmmaker, which makes the trans body, and the trans gaze, subjects of the narrative. As a result, Crows abandons the outdated notion of documentary as a genre in which reality simply happens and is captured by the genius gaze of the director, underlining the mise-en-scène and the filmmaking aspects inherent to the movie – and how Katharine is co-responsible for their creation.Pensar em um cinema queer é refletir sobre como o audiovisual, com suas estratégias estético-narrativas, pode contribuir para uma proposta antinormativa de gênero e sexualidade. Partindo da noção de que uma série de filmes contemporâneos tem concretizado esse propósito por meio da encenação de um ato de criação queer (Silva, 2021), este artigo pretende identificar tal ato no cinema brasileiro contemporâneo, especificamente no olhar fílmico onisciente da atriz e roteirista trans Julia Katharine no documentário Lembro mais dos Corvos (Gustavo Vinagre: 2018). Combinando um exercício de análise fílmica com a metodologia proposta pela Teoria dos Cineastas (Penafria, Baggio, Graça & Araujo 2016), a investigação busca examinar como o diálogo de olhares encenado por Katharine e Vinagre no filme in/subverte não apenas a relação histórica sujeito/objeto na produção documental, mas também a própria tradição de objetificação e/ou apagamento de corpos trans pelo cinema. Por meio da sua capacidade de contar histórias e do seu vasto conhecimento cinematográfico, a protagonista estabelece uma colaboração de coautoria com o cineasta que faz do corpo trans, e do olhar trans, sujeitos da narrativa. Como resultado, Corvos afasta-se da noção ultrapassada de documentário como gênero em que a realidade simplesmente acontece e é capturada pelo olhar genial do realizador, evidenciando a mise-en-scène e os aspectos cinematográficos inerentes ao filme, e como Katharine é corresponsável pela sua criação
University Teachers’ Vantage Points on ChatGPT Integration in Education: Upsides and Downsides
Full text linkIn recent years, artificial intelligence has been growing expeditiously. It has invaded various disciplines such as education. The most noteworthy development of artificial intelligence that receives a great attention is ChatGPT. It was released on November 30, 2022. ChatGPT is capable of generating human-like responses to user input. The use of ChatGPT continues to receive swift growth. It is increasingly being adopted by teachers and students. Despite potential challenges, its capabilities present a great opportunity for teachers and students in the process of teaching and learning.This paper seeks to investigate the significance of ChatGPT in higher education, specifically exploring its effects on the teaching process from the perspective of educators. Further, this article addresses issues related to teachers’ digital competency and literacy. Attention is given to both the challenges and opportunities ChatGPT presents when it is used by teachers as a teaching and assessment tool. To fulfill the objectives of this study effectively, three research questions are proposed.This research employed a mixed-method approach. A survey was designed to collect data, using KoboToolbox. A total of 49 teachers of Koya University participated in the quantitative part, while 40 teachers provided responses for the qualitative part of the survey. The data collected from the survey were analyzed quantitively via SPSS, while the data collected from the final part of the survey were coded and analyzed qualitatively.The results showed that, despite their positive attitude towards integrating ChatGPT into their teaching process, teachers do not utilize it effectively. Indeed, participant teachers highlighted both the advantages and disadvantages of integrating ChatGPT in education.In recent years, artificial intelligence has been growing expeditiously. It has invaded various disciplines such as education. The most noteworthy development of artificial intelligence that receives a great attention is ChatGPT. It was released on November 30, 2022. ChatGPT is capable of generating human-like responses to user input. The use of ChatGPT continues to receive swift growth. It is increasingly being adopted by teachers and students. Despite potential challenges, its capabilities present a great opportunity for teachers and students in the process of teaching and learning.This paper seeks to investigate the significance of ChatGPT in higher education, specifically exploring its effects on the teaching process from the perspective of educators. Further, this article addresses issues related to teachers’ digital competency and literacy. Attention is given to both the challenges and opportunities ChatGPT presents when it is used by teachers as a teaching and assessment tool. To fulfill the objectives of this study effectively, three research questions are proposed.This research employed a mixed-method approach. A survey was designed to collect data, using KoboToolbox. A total of 49 teachers of Koya University participated in the quantitative part, while 40 teachers provided responses for the qualitative part of the survey. The data collected from the survey were analyzed quantitively via SPSS, while the data collected from the final part of the survey were coded and analyzed qualitatively.The results showed that, despite their positive attitude towards integrating ChatGPT into their teaching process, teachers do not utilize it effectively. Indeed, participant teachers highlighted both the advantages and disadvantages of integrating ChatGPT in education.In recent years, artificial intelligence has been growing expeditiously. It has invaded various disciplines such as education. The most noteworthy development of artificial intelligence that receives a great attention is ChatGPT. It was released on November 30, 2022. ChatGPT is capable of generating human-like responses to user input. The use of ChatGPT continues to receive swift growth. It is increasingly being adopted by teachers and students. Despite potential challenges, its capabilities present a great opportunity for teachers and students in the process of teaching and learning.This paper seeks to investigate the significance of ChatGPT in higher education, specifically exploring its effects on the teaching process from the perspective of educators. Further, this article addresses issues related to teachers’ digital competency and literacy. Attention is given to both the challenges and opportunities ChatGPT presents when it is used by teachers as a teaching and assessment tool. To fulfill the objectives of this study effectively, three research questions are proposed.This research employed a mixed-method approach. A survey was designed to collect data, using KoboToolbox. A total of 49 teachers of Koya University participated in the quantitative part, while 40 teachers provided responses for the qualitative part of the survey. The data collected from the survey were analyzed quantitively via SPSS, while the data collected from the final part of the survey were coded and analyzed qualitatively.The results showed that, despite their positive attitude towards integrating ChatGPT into their teaching process, teachers do not utilize it effectively. Indeed, participant teachers highlighted both the advantages and disadvantages of integrating ChatGPT in education
Educación mediática en Primaria: Intervención contra el odio en redes
Full text linkThe purpose of this work is to design an Educommunication program for Primary Education that contributes to the critical attitude of students towards screens - that is, to the acquisition of skills on the healthy and positive use of ICT, Internet and social networks. – and, specifically, in favor of identifying hate on the Internet. Firstly, the existing theoretical framework is analyzed, reviewing the regional and state educational law, as well as the communication theories involved and the most relevant scientific publications of recent years in this area. Next, the designed intervention project is presented, which is developed annually, transversally and contextualized in a real classroom, and which involves different levels of intervention and participation for teachers and students. Finally, different conclusions are drawn regarding the need for media literacy in Primary and how to overthrow hate speech among minors, highlighting the importance of the intervention of the teaching staff of the last cycle of Primary, the facilitation of safe spaces for reflection and debate among equals and raising awareness of the family group. The intervention for the future proposes to enhance work on a critical attitude from the beginning of the Primary stage, with realistic practices, in accordance with the circumstances and needs of the intervened group itself. Training, awareness and teaching commitment are emerging as key tools for students to acquire a critical attitude towards networks.El propósito de este trabajo es diseñar un programa de Educomunicación para Educación Primaria que contribuya a la actitud crítica del alumnado frente a las pantallas –es decir, a la adquisición de competencias sobre el uso saludable y positivo de las TIC, Internet y las redes sociales– y, específicamente, en pro de la identificación del odio en la red. En primer lugar, se analiza el marco teórico existente, revisando la ley educativa regional y estatal, así como las teorías de la comunicación implicadas y las publicaciones científicas más relevantes de los últimos años en esta área. A continuación, se expone el proyecto de intervención diseñado, que se desarrolla de forma anual, transversal y contextualizada en un aula real, y que implica distintos niveles de intervención y participación para profesorado y alumnado. Se extraen, finalmente, distintas conclusiones en torno a la necesidad de la alfabetización mediática en Primaria y a cómo derribar los discursos de odio entre menores, destacándose la importancia de la intervención del personal docente del último ciclo de Primaria, la facilitación de espacios seguros de reflexión y debate entre iguales y la sensibilización del grupo familiar. La intervención para el futuro propone potenciar el trabajo en la actitud crítica desde el inicio de la etapa de Primaria, con prácticas realistas, acordes a las circunstancias y necesidades del propio grupo intervenido. La formación, la sensibilización y el compromiso docente se perfilan como herramientas clave para que el alumnado adquiera actitud crítica antes las redes.The purpose of this work is to design an Educommunication program for Primary Education that contributes to the critical attitude of students towards screens - that is, to the acquisition of skills on the healthy and positive use of ICT, Internet and social networks. – and, specifically, in favor of identifying hate on the Internet. Firstly, the existing theoretical framework is analyzed, reviewing the regional and state educational law, as well as the communication theories involved and the most relevant scientific publications of recent years in this area. Next, the designed intervention project is presented, which is developed annually, transversally and contextualized in a real classroom, and which involves different levels of intervention and participation for teachers and students. Finally, different conclusions are drawn regarding the need for media literacy in Primary and how to overthrow hate speech among minors, highlighting the importance of the intervention of the teaching staff of the last cycle of Primary, the facilitation of safe spaces for reflection and debate among equals and raising awareness of the family group. The intervention for the future proposes to enhance work on a critical attitude from the beginning of the Primary stage, with realistic practices, in accordance with the circumstances and needs of the intervened group itself. Training, awareness and teaching commitment are emerging as key tools for students to acquire a critical attitude towards networks.The purpose of this work is to design an Educommunication program for Primary Education that contributes to the critical attitude of students towards screens - that is, to the acquisition of skills on the healthy and positive use of ICT, Internet and social networks. – and, specifically, in favor of identifying hate on the Internet. Firstly, the existing theoretical framework is analyzed, reviewing the regional and state educational law, as well as the communication theories involved and the most relevant scientific publications of recent years in this area. Next, the designed intervention project is presented, which is developed annually, transversally and contextualized in a real classroom, and which involves different levels of intervention and participation for teachers and students. Finally, different conclusions are drawn regarding the need for media literacy in Primary and how to overthrow hate speech among minors, highlighting the importance of the intervention of the teaching staff of the last cycle of Primary, the facilitation of safe spaces for reflection and debate among equals and raising awareness of the family group. The intervention for the future proposes to enhance work on a critical attitude from the beginning of the Primary stage, with realistic practices, in accordance with the circumstances and needs of the intervened group itself. Training, awareness and teaching commitment are emerging as key tools for students to acquire a critical attitude towards networks
