OJS (Centro de Investigação em Artes e Comunicação)
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MAD Clarinet 3.0: Dialogues with my computer
Full text linkMAD Clarinet 3.0 is an article that discusses a Static Artificial Intelligence (SAI) system, dialoguing with a clarinet performance under a Tangible Acoustic Interface (TAI) system and using the software Max/MSP. The TAI system, working through solid vibrations, enables the use of the clarinet as an interface to trigger the computer’s sonic response, employing the parametrisation of the clarinet´s sonic characteristics, such as pitch and duration. This dialogue is made from the harmonic and melodic point of view, and, whereas the harmonic paths are chosen randomly – from among several possibilities – by the computer, the melodic paths are made by measuring the clarinettist preferences in real-time. Throughout the document, it will discuss the concepts, the system, the patches, and potentialities. Thus, this article arises from the junction of a clarinet – under a TAI system – with an SAI system and, from the artistic point of view, using a computer as a performative partner with an essential role.MAD Clarinet 3.0 is an article that discusses a Static Artificial Intelligence (SAI) system, dialoguing with a clarinet performance under a Tangible Acoustic Interface (TAI) system and using the software Max/MSP. The TAI system, working through solid vibrations, enables the use of the clarinet as an interface to trigger the computer’s sonic response, employing the parametrisation of the clarinet´s sonic characteristics, such as pitch and duration. This dialogue is made from the harmonic and melodic point of view, and, whereas the harmonic paths are chosen randomly – from among several possibilities – by the computer, the melodic paths are made by measuring the clarinettist preferences in real-time. Throughout the document, it will discuss the concepts, the system, the patches, and potentialities. Thus, this article arises from the junction of a clarinet – under a TAI system – with an SAI system and, from the artistic point of view, using a computer as a performative partner with an essential role.MAD Clarinet 3.0 is an article that discusses a Static Artificial Intelligence (SAI) system, dialoguing with a clarinet performance under a Tangible Acoustic Interface (TAI) system and using the software Max/MSP. The TAI system, working through solid vibrations, enables the use of the clarinet as an interface to trigger the computer’s sonic response, employing the parametrisation of the clarinet´s sonic characteristics, such as pitch and duration. This dialogue is made from the harmonic and melodic point of view, and, whereas the harmonic paths are chosen randomly – from among several possibilities – by the computer, the melodic paths are made by measuring the clarinettist preferences in real-time. Throughout the document, it will discuss the concepts, the system, the patches, and potentialities. Thus, this article arises from the junction of a clarinet – under a TAI system – with an SAI system and, from the artistic point of view, using a computer as a performative partner with an essential role.MAD Clarinet 3.0 is an article that discusses a Static Artificial Intelligence (SAI) system, dialoguing with a clarinet performance under a Tangible Acoustic Interface (TAI) system and using the software Max/MSP. The TAI system, working through solid vibrations, enables the use of the clarinet as an interface to trigger the computer’s sonic response, employing the parametrisation of the clarinet´s sonic characteristics, such as pitch and duration. This dialogue is made from the harmonic and melodic point of view, and, whereas the harmonic paths are chosen randomly – from among several possibilities – by the computer, the melodic paths are made by measuring the clarinettist preferences in real-time. Throughout the document, it will discuss the concepts, the system, the patches, and potentialities. Thus, this article arises from the junction of a clarinet – under a TAI system – with an SAI system and, from the artistic point of view, using a computer as a performative partner with an essential role
Literary Tourism and Waterscapes in the Short Stories by Siti Zainon Ismail
Full text linkSiti Zainon Ismail is a literary scholar, writer, and Malaysian cultural figure who has embarked on various journeys – both physical and imaginative. The intersection of literature with these journeys is particularly fascinating within the realm of “travel literature”, a subfield of literary tourism studies. This paper examines her connection to waterscapes, whether it is the external settings she has visited or the local regions she has depicted in her works, which subsequently result in a collision of ideas amongst her characters. This article references several short stories by Siti Zainon Ismail published through Galeri Melora, namely Kampung Paya Kami (1998), Nyanyian Orang Laut (2000), and Piazza Di Spagna (2005). Several other short stories later take readers on her journeys through the Riau Islands in Indonesia and Rome, Europe. Siti Zainon Ismail extensively discusses human nature, the surrounding environmental conflicts, heritage, and love stories through the backdrop of these waterscapes. This study employs the framework of literary tourism and the literary path within the context of psycho geography – how the author is engaged in the folds and lines of the map of the narrative’s watery locales, marked by literary signposts. Siti Zainon Ismail invites her audience to trace the contours of this “new map” to encounter fictional characters, settings, roads, structures, or even meet the author herself. Through Siti Zainon Ismail’s short stories, the readers are portrayed as pilgrims in the realm of literary tourism, and they also contribute a unique impact associated with waterscapes.Siti Zainon Ismail é uma estudiosa literária, escritora e figura cultural malaia que embarcou em várias jornadas – tanto físicas quanto imaginativas. A intersecção da literatura com estas viagens é particularmente fascinante no domínio da “literatura de viagens”, um subcampo dos estudos do turismo literário. Este artigo examina a sua ligação às paisagens aquáticas, sejam os cenários externos que visitou ou as regiões locais que retratou nas suas obras, que posteriormente resultam numa colisão de ideias entre as suas personagens. Este artigo faz referência a vários contos de Siti Zainon Ismail publicados pela Galeri Melora, nomeadamente Kampung Paya Kami (1998), Nyanyian Orang Laut (2000) e Piazza Di Spagna (2005). Vários outros contos posteriormente levam os leitores em suas viagens pelas Ilhas Riau, na Indonésia, e Roma, na Europa. Siti Zainon Ismail discute extensivamente a natureza humana, os conflitos ambientais circundantes, a herança e as histórias de amor através do pano de fundo destas paisagens aquáticas. Este estudo utiliza o enquadramento do turismo literário e do percurso literário no contexto da psicogeografia – como o autor se envolve nas dobras e linhas do mapa dos locais aquáticos da narrativa, marcados por sinalização literária. Siti Zainon Ismail convida o seu público a traçar os contornos deste “novo mapa” para encontrar personagens fictícios, cenários, estradas, estruturas, ou mesmo conhecer a própria autora. Através dos contos de Siti Zainon Ismail, os leitores são retratados como peregrinos no âmbito do turismo literário, e também contribuem com um impacto único associado às paisagens aquáticas
Eça de Queirós route in Newcastle-Upon-Tyne: commemorating 150 years since his arrival in England
No full textOs romances de Eça de Queirós suscitaram já inúmeros percursos literários em Portugal, por exemplo em Lisboa (Os Maias) ou em Tormes (A cidade e as serras), mas o mesmo não pode dizer-se no que se refere a percursos internacionais, embora o autor tenha vivido no estrangeiro durante toda a sua vida profissional como cônsul, que o levou a Cuba (Havana), Inglaterra (Newcastle e Bristol) e França (Paris). Paris surge imediatamente como uma possibilidade de percurso literário internacional ligado a A cidade e as serras; Newcastle-Upon-Tyne, no entanto, embora não pareça ser uma escolha óbvia, permite visitar alguns locais significativos da cidade ligados ao escritor. A relação de Eça com Newcastle está registada na sua correspondência pessoal e consular, e não havendo outros registos da passagem do autor por esta cidade além de uma placa comemorativa no edifício onde se localizava o consulado, um percurso literário dedicado ao autor oitocentista português é um modo de preservar a memória do período que aí viveu. A visitar em Newcastle, além do consulado, há o local onde se localizava o apartamento onde vivia, e que foi, entretanto, demolido, e o edifício onde funcionava a Alfândega, junto ao rio Tyne. O percurso literário preparado para a III Conferência da TROPO UK, recria um dos percursos que o autor português teria feito nos quatro anos que viveu em Newcastle (1874-79) e liga a estes lugares leituras extraídas da sua correspondência pessoal e consular, assim como a história da cidade de Newcastle dessa época.Os romances de Eça de Queirós suscitaram já inúmeros percursos literários em Portugal, por exemplo em Lisboa (Os Maias) ou em Tormes (A cidade e as serras), mas o mesmo não pode dizer-se no que se refere a percursos internacionais, embora o autor tenha vivido no estrangeiro durante toda a sua vida profissional como cônsul, que o levou a Cuba (Havana), Inglaterra (Newcastle e Bristol) e França (Paris). Paris surge imediatamente como uma possibilidade de percurso literário internacional ligado a A cidade e as serras; Newcastle-Upon-Tyne, no entanto, embora não pareça ser uma escolha óbvia, permite visitar alguns locais significativos da cidade ligados ao escritor. A relação de Eça com Newcastle está registada na sua correspondência pessoal e consular, e não havendo outros registos da passagem do autor por esta cidade além de uma placa comemorativa no edifício onde se localizava o consulado, um percurso literário dedicado ao autor oitocentista português é um modo de preservar a memória do período que aí viveu. A visitar em Newcastle, além do consulado, há o local onde se localizava o apartamento onde vivia, e que foi, entretanto, demolido, e o edifício onde funcionava a Alfândega, junto ao rio Tyne. O percurso literário preparado para a III Conferência da TROPO UK[1], recria um dos percursos que o autor português teria feito nos quatro anos que viveu em Newcastle (1874-79) e liga a estes lugares leituras extraídas da sua correspondência pessoal e consular, assim como a história da cidade de Newcastle dessa época.
[1] Teachers and Researchers of Portuguese Language in the UK
Latin American organizational communication in constant evolution
Full text linkEl presente artículo recorre el pensamiento comunicacional latinoamericano en su constante devenir, en medio de la lucha decolonial para desmarcarse de los preceptos occidentales en que el mercado supera en priorización al ser humano. La fuerza social de la comunicación para generar organizaciones que se encuentran inmersas en el diálogo constante es posible gracias a pensadores críticos que reencausan la reflexión sobre este campo de estudio a partir de otras realidades. A partir de la revisión documental y análisis crítico decolonial realiza un recorrido por el pensamiento de quienes de forma precursora instauraron una corriente otra en el llamado subcontinente, seguido de los preceptos de teóricos vinculados al giro decolonial, presenta los principales investigadores de la comunicación organizacional latinoamericana, finalmente propone a la comunicación enactiva, interculturalidad y la dimensión humana como características del trabajo en las organizaciones latinoamericanas a partir de sus posibilidades críticas y participativas para instaurar cambios en las organizaciones.This article reviews Latin American communication thought in its constant evolution, in the midst of decolonial struggle to distance itself from Western precepts in which the market surpasses human beings in prioritization. The social force of communication to generate organizations that are immersed in constant dialogue is possible thanks to critical thinkers who redirect reflection on this field of study based on other realities. Based on the documentary review and critical decolonial analysis, he takes a tour of the thoughts of those who pioneered another current in the so-called subcontinent, followed by the precepts of theorists linked to the decolonial turn, presenting the main researchers of Latin American organizational communication. , finally proposes enactive communication, interculturality and the human dimension as characteristics of work in Latin American organizations based on its critical and participatory possibilities to establish changes in organizations.This article reviews Latin American communication thought in its constant evolution, in the midst of decolonial struggle to distance itself from Western precepts in which the market surpasses human beings in prioritization. The social force of communication to generate organizations that are immersed in constant dialogue is possible thanks to critical thinkers who redirect reflection on this field of study based on other realities. Based on the documentary review and critical decolonial analysis, he takes a tour of the thoughts of those who pioneered another current in the so-called subcontinent, followed by the precepts of theorists linked to the decolonial turn, presenting the main researchers of Latin American organizational communication. , finally proposes enactive communication, interculturality and the human dimension as characteristics of work in Latin American organizations based on its critical and participatory possibilities to establish changes in organizations.This article reviews Latin American communication thought in its constant evolution, in the midst of decolonial struggle to distance itself from Western precepts in which the market surpasses human beings in prioritization. The social force of communication to generate organizations that are immersed in constant dialogue is possible thanks to critical thinkers who redirect reflection on this field of study based on other realities. Based on the documentary review and critical decolonial analysis, he takes a tour of the thoughts of those who pioneered another current in the so-called subcontinent, followed by the precepts of theorists linked to the decolonial turn, presenting the main researchers of Latin American organizational communication. , finally proposes enactive communication, interculturality and the human dimension as characteristics of work in Latin American organizations based on its critical and participatory possibilities to establish changes in organizations
Média-Arte Digital: Criação de artefactos visuais experimentais pós-fotográficos
Full text linkThis text derives from the research-creation project submitted to the Doctorate in Digital Media-Art at UAB-UAlg, the research presents the development of an artistic practice that addresses the creation of visual artefacts linked to post-photography to question the current educational system. To this end, the expression of digital art is conceptually based on digital visual culture from a post-qualitative approach based on the a/r/cographic method as an action for collaborative work with students from different courses whose theoretical/practical training process includes participatory work with the community. Furthermore, a field diary is used as a repository of ideas, techniques and aesthetics to link the co-creative process. The results show the expansion of the communicative act with analogue and digital formats typical of post-photography, it is also proven that visual experimentation generates hybrid creative processes for digital media art. Likewise, it is reiterated that the use of emerging pedagogies linked to maker culture transforms the role of the student and makes them a prosumer agent where their voice is linked to the creative process. It is concluded that the use of tactical media facilitates the exploration of experimental visual formats that allow the artist to channel the communicative act to expand the message of the work, while collaborative work with students generates media literacy in the educommunicative act.This text derives from the research-creation project submitted to the Doctorate in Digital Media-Art at UAB-UAlg, the research presents the development of an artistic practice that addresses the creation of visual artefacts linked to post-photography to question the current educational system. To this end, the expression of digital art is conceptually based on digital visual culture from a post-qualitative approach based on the a/r/cographic method as an action for collaborative work with students from different courses whose theoretical/practical training process includes participatory work with the community. Furthermore, a field diary is used as a repository of ideas, techniques and aesthetics to link the co-creative process. The results show the expansion of the communicative act with analogue and digital formats typical of post-photography, it is also proven that visual experimentation generates hybrid creative processes for digital media art. Likewise, it is reiterated that the use of emerging pedagogies linked to maker culture transforms the role of the student and makes them a prosumer agent where their voice is linked to the creative process. It is concluded that the use of tactical media facilitates the exploration of experimental visual formats that allow the artist to channel the communicative act to expand the message of the work, while collaborative work with students generates media literacy in the educommunicative act.This text derives from the research-creation project submitted to the Doctorate in Digital Media-Art at UAB-UAlg, the research presents the development of an artistic practice that addresses the creation of visual artefacts linked to post-photography to question the current educational system. To this end, the expression of digital art is conceptually based on digital visual culture from a post-qualitative approach based on the a/r/cographic method as an action for collaborative work with students from different courses whose theoretical/practical training process includes participatory work with the community. Furthermore, a field diary is used as a repository of ideas, techniques and aesthetics to link the co-creative process. The results show the expansion of the communicative act with analogue and digital formats typical of post-photography, it is also proven that visual experimentation generates hybrid creative processes for digital media art. Likewise, it is reiterated that the use of emerging pedagogies linked to maker culture transforms the role of the student and makes them a prosumer agent where their voice is linked to the creative process. It is concluded that the use of tactical media facilitates the exploration of experimental visual formats that allow the artist to channel the communicative act to expand the message of the work, while collaborative work with students generates media literacy in the educommunicative act.Este texto deriva do projeto de pesquisa-criação submetido ao Doutorado em Média-Arte Digital da UAB-UAlg e a pesquisa apresenta o desenvolvimento de uma prática artística que aborda a criação de artefactos visuais ligados à pós-fotografia para questionar o sistema educacional atual. Para isso, a expressão da arte digital baseia-se conceitualmente na cultura visual digital a partir de uma abordagem pós-qualitativa fundamentada no método a/r/cográfico como ação para o trabalho colaborativo com alunos de diversos cursos cujo processo de formação teórico/prática inclui o trabalho participativo com a comunidade. Além disso, um diário de campo é utilizado como repositório de ideias, técnicas e estéticas para vincular o processo co-criativo. Os resultados mostram a expansão do ato comunicativo com formatos analógicos e digitais típicos da pós-fotografia, também fica comprovado que a experimentação visual gera processos criativos híbridos para a média-arte digital. Da mesma forma, reitera-se que o uso de pedagogias emergentes ligadas à cultura maker transforma o papel do aluno e o torna um agente prosumer onde sua voz esta ligada no processo criativo. Conclui-se que o uso de media tático facilita a exploração de formatos experimentais visuais que permitem ao artista canalizar o ato comunicativo para expandir a mensagem da obra, enquanto o trabalho colaborativo com os alunos gera literacia mediática no ato educomunicativo
La construcción de una ruta literaria: del diseño a las aplicaciones turísticas y didácticas
Full text linkEl propósito de este artículo es reseguir las distintas fases de construcción de un itinerario literario y analizar cuáles son los factores determinantes para su eficacia, ya sea en su aplicación turística o didáctica. Basándose en casos de itinerarios literarios ya existentes, el texto reflexiona sobre la creación del relato, la selección de lugares, autores y textos y sobre los distintos tipos de vínculos que se pueden establecer entre estos elementos, desde la relación directa hasta la literaturización de espacios. A continuación, se aborda la aplicación de estos itinerarios dependiendo de si su finalidad es turística o didáctica. Para ello se tratan, especialmente en contextos didácticos, cuestiones como los roles de quien conduce el itinerario y de quienes lo siguen tanto en el establecimiento como en la evolución del propio relato y, en consecuencia, del itinerario. Todo ello se ejemplifica con experiencias reales procedentes del trabajo del grupo de investigación al que pertenecen los autores y del de otros expertos.The purpose of this article is to follow the different phases of the construction of a literary itinerary and to analyse the determining factors for its effectiveness, whether in its touristic or didactic application. Based on cases of existing literary itineraries, the text reflects on the creation of the storytelling, the selection of places, authors and texts and the different types of links that can be established between these elements, from the direct relationship to the literaturisation of spaces. The application of these itineraries is then discussed, depending on whether their purpose is touristic or didactic. To this end, especially in didactic contexts, issues such as the roles of the person leading the itinerary and of those following it, both in the establishment and in the evolution of the storytelling itself (and, consequently, of the itinerary) are dealt with. All of this is exemplified by real experiences from the work of both the authors’ research group and other experts
Vozes Femininas Contemporâneas: O estudo de caso de Our Uniform, de Yegane Moghaddam
Full text linkThis article is focused on the relevance of addressing contemporary representation of women in animation films. Its main objective is to create awareness on the theme, to contribute to a global dialogue that helps to fight intolerance against women and to promote an ethical conscientization of mutual coexistence, based on human rights, with a special focus on gender equality. To achieve this objective, our research conducted an analysis of the case study, Our Uniform (2023), directed by Iranian Yegane Moghaddam, which reflects the problematics of women in a very expressive terms, in a geography where the extreme consequences of violence against women have not yet been resolved and which contributes to answer our objective. As a methodology of research, we combined literature review focused on the representations of women in the Islamic world, a series of three interviews conducted by the authors to the Iranian film director to determine her intentions and to understand the contemporary Iranian as a primary source of information, and the use of a animation model of analysis created specifically for animated film (Peres, 2019).This article is focused on the relevance of addressing contemporary representation of women in animation films. Its main objective is to create awareness on the theme, to contribute to a global dialogue that helps to fight intolerance against women and to promote an ethical conscientization of mutual coexistence, based on human rights, with a special focus on gender equality. To achieve this objective, our research conducted an analysis of the case study, Our Uniform (2023), directed by Iranian Yegane Moghaddam, which reflects the problematics of women in a very expressive terms, in a geography where the extreme consequences of violence against women have not yet been resolved and which contributes to answer our objective. As a methodology of research, we combined literature review focused on the representations of women in the Islamic world, a series of three interviews conducted by the authors to the Iranian film director to determine her intentions and to understand the contemporary Iranian as a primary source of information, and the use of a animation model of analysis created specifically for animated film (Peres, 2019).This article is focused on the relevance of addressing contemporary representation of women in animation films. Its main objective is to create awareness on the theme, to contribute to a global dialogue that helps to fight intolerance against women and to promote an ethical conscientization of mutual coexistence, based on human rights, with a special focus on gender equality. To achieve this objective, our research conducted an analysis of the case study, Our Uniform (2023), directed by Iranian Yegane Moghaddam, which reflects the problematics of women in a very expressive terms, in a geography where the extreme consequences of violence against women have not yet been resolved and which contributes to answer our objective. As a methodology of research, we combined literature review focused on the representations of women in the Islamic world, a series of three interviews conducted by the authors to the Iranian film director to determine her intentions and to understand the contemporary Iranian as a primary source of information, and the use of a animation model of analysis created specifically for animated film (Peres, 2019).Este artigo tem como foco a pertinência de análise da representatividade contemporânea da mulher no cinema de animação, tendo por objetivos principais de contribuir para uma melhor consciencialização acerca do tema, contribuir para um diálogo global de combate à intolerância e promover a necessidade ética de coexistência mútua, baseada nos direitos humanos, em especial na igualdade de género. Para tal, propõe-se uma análise da curta-metragem de animação, Our Uniform (2023), realizada pela iraniana Yegane Moghaddam, cujo filme incide sobre esta problemática de forma muito expressiva, numa geografia onde as consequências extremas de violência contra a mulher ainda não estão resolvidas e cujo debate responde de inúmeras formas aos nossos objetivos de investigação. Como metodologia, este artigo combina uma revisão de literatura sobre o tema da mulher no mundo islâmico, uma série de três entrevistas conduzidas pelas autoras à realizadora do filme para apuramento de intenções e contexto da realidade iraniana, e o recurso a um modelo de análise que se debruça especificamente sobre filmes em animação (Peres, 2019)
Literatures of contagion: the Camusian legacy
Full text linkLiterature thinks about and explores plagues, whether of natural origin such as epidemics, or of social and political origin such as wars. These plagues are the manifestation of adversity and chaos in the world. Our study takes a hermeneutical look at how literature deals with the reality of epidemics, and how it offers food for thought on how man and society react to the test of adversity. To do this, we mainly examined Albert Camus’s The Plague, a work hypotext for other fictions from which we chose Gabriel García Márquez’s One Hundred Years of Solitude and José Saramago’s Blindness. This necessitated a comparative approach to epidemic representations in the works of the three authors, ranging from realism to magic realism.Literature thinks about and explores plagues, whether of natural origin such as epidemics, or of social and political origin such as wars. These plagues are the manifestation of adversity and chaos in the world. Our study takes a hermeneutical look at how literature deals with the reality of epidemics, and how it offers food for thought on how man and society react to the test of adversity. To do this, we mainly examined Albert Camus’s The Plague, a work hypotext for other fictions from which we chose Gabriel García Márquez’s One Hundred Years of Solitude and José Saramago’s Blindness. This necessitated a comparative approach to epidemic representations in the works of the three authors, ranging from realism to magic realism.La littérature pense et explore les fléaux, qu’ils soient de sources naturelles telles que les épidémies, ou d’origine sociale et politique telles que les guerres. Ces fléaux sont la manifestation de l’adversité et du chaos dans le monde. Notre étude aborde sur le plan herméneutique comment la littérature traite la réalité épidémique, et comment elle offre un terrain de réflexion sur la façon dont l’homme et la société réagissent face à l’épreuve de l’adversité. Pour ce faire, nous avons principalement examiné La peste d’Albert Camus, œuvre hypotexte pour d’autres fictions desquelles nous avons choisi Cent ans de solitude de Gabriel García Márquez et L’Aveuglement de José Saramago. Cela a nécessité d’adopter une approche comparatiste des représentations épidémiques chez les trois auteurs, allant du réalisme au réalisme magique.Literature thinks about and explores plagues, whether of natural origin such as epidemics, or of social and political origin such as wars. These plagues are the manifestation of adversity and chaos in the world. Our study takes a hermeneutical look at how literature deals with the reality of epidemics, and how it offers food for thought on how man and society react to the test of adversity. To do this, we mainly examined Albert Camus’s The Plague, a work hypotext for other fictions from which we chose Gabriel García Márquez’s One Hundred Years of Solitude and José Saramago’s Blindness. This necessitated a comparative approach to epidemic representations in the works of the three authors, ranging from realism to magic realism
Imaginários entrelaçados de Brasil e de Portugal em uma performance visual do artista Edicleison de Freitas Cardoso: uma crônica sobre as Múmias
Full text linkThe present initiative transposes images and sensations referred by an artistic experiment from 2024 into the current dimension of text and its potential for reflection. This work was conducted in the public space of Coimbra (Portugal) by the artist Edicleison de Freitas with the participation of walking others. As an act of collective breadth, through themes of family and memory, through the open combination of imaginations with its varied situational audience, and through the confrontation of the city via the poetic mechanisms of contemporary art, the artist aimed to propose a very specific expansion on the matter of time. This approach involves the body succeeding as an agency (an appropriation/use of it) of a performed Mummy, calling upon the artist’s emotional remnants that merge with affective ruins echoed from the audience, in a process that excavates from narratives to the inventive faces of art, perhaps to exhume and save the deads ones of the actors involved, both visible and invisible within the city.The present initiative transposes images and sensations referred by an artistic experiment from 2024 into the current dimension of text and its potential for reflection. This work was conducted in the public space of Coimbra (Portugal) by the artist Edicleison de Freitas with the participation of walking others. As an act of collective breadth, through themes of family and memory, through the open combination of imaginations with its varied situational audience, and through the confrontation of the city via the poetic mechanisms of contemporary art, the artist aimed to propose a very specific expansion on the matter of time. This approach involves the body succeeding as an agency (an appropriation/use of it) of a performed Mummy, calling upon the artist’s emotional remnants that merge with affective ruins echoed from the audience, in a process that excavates from narratives to the inventive faces of art, perhaps to exhume and save the deads ones of the actors involved, both visible and invisible within the city.The present initiative transposes images and sensations referred by an artistic experiment from 2024 into the current dimension of text and its potential for reflection. This work was conducted in the public space of Coimbra (Portugal) by the artist Edicleison de Freitas with the participation of walking others. As an act of collective breadth, through themes of family and memory, through the open combination of imaginations with its varied situational audience, and through the confrontation of the city via the poetic mechanisms of contemporary art, the artist aimed to propose a very specific expansion on the matter of time. This approach involves the body succeeding as an agency (an appropriation/use of it) of a performed Mummy, calling upon the artist’s emotional remnants that merge with affective ruins echoed from the audience, in a process that excavates from narratives to the inventive faces of art, perhaps to exhume and save the deads ones of the actors involved, both visible and invisible within the city.A presente iniciativa transpõe imagens e sensações referidas por um experimento artístico de 2024 para a dimensão corrente do texto e seu possível reflexivo, a partir de um trabalho conduzido no espaço público de Coimbra (Portugal), pelo artista Edicleison de Freitas e a participação de terceiros passantes. Enquanto gesto de abrangências coletivas, seja pelos temas da família e da memória, seja pela conjugação aberta dos imaginários junto ao seu respectivo público circunstancial variado, seja, ademais, pelo enfrentamento da cidade através dos mecanismos poéticos da arte contemporânea, quis o artista propor uma dilatação muito específica sobre a matéria do tempo - qual seja: enquanto o corpo sucede-se como agência (um uso/krestai que dele se apodera) de uma Múmia performada, o rito convoca restos emocionais do artista que se aglomera com ruínas afetivas reverberadas do seu público, em um procedimento que escava das narrativas para os rostos inventivos da arte, talvez por exumar e salvar os mortos dos atores envolvidos, então visíveis e invisíveis dentro da cidade
Literary route through Borriana and the Sea: A literary, inclusive and sustainable tourism experience
Full text linkEn este artículo, mostramos el diseño de una ruta literaria que sigue la línea de costa de una ciudad mediana valenciana que todavía no ha sido explotada como destino turístico masivo. La ruta se ha diseñado pensando en promocionar la literatura y el paisaje locales, atrayendo visitantes interesados por el turismo cultural, con sensibilidad de género y ecológica, permitiendo a los visitantes conocer las múltiples facetas de la interacción entre los habitantes de Borriana y el mar. Además, esta ruta literaria se aprovecha como material didáctico en las escuelas locales, con lo que se convierte en un producto didáctico y divulgativo a la vez para los visitantes y para los autóctonos. El artículo comienza con un repaso de los principales conceptos relacionados con la literatura y con el turismo en contacto con el mar Mediterráneo. A continuación, se desglosa en qué consiste la ruta propuesta y se explica cómo ha sido adaptada al contexto sociocultural huyendo de ser un producto turístico desarraigado: autores y autoras locales, concienciación social e idiosincrasia particular de la localidad, como por ejemplo la amplia oferta de deportes náuticos que Borriana alberga.This article offers the design of a literary route that follows the coastline of a medium-sized Valencian city that has not yet been exploited as a massive tourist destination. The route has been designed with the aim of promoting local literature and landscape, attracting visitors interested in cultural and sustainable tourism, with gender and ecological sensitivity, allowing visitors to discover the many facets of the interaction between the inhabitants of Borriana and the sea. In addition, this literary route will be used as educational material in local schools, with which this route becomes a didactic and informative product at the same time for both visitors and locals. The text begins with a review of the main concepts related to literature and tourism in contact with the Mediterranean Sea. Next, it is explained how the literary route has been strategically adapted, avoiding to be a decontextualized touristic product: local authors, social awareness and other particular idiosyncrasies; for instance, the wide range of water sports that Borriana hosts.This article offers the design of a literary route that follows the coastline of a medium-sized Valencian city that has not yet been exploited as a massive tourist destination. The route has been designed with the aim of promoting local literature and landscape, attracting visitors interested in cultural and sustainable tourism, with gender and ecological sensitivity, allowing visitors to discover the many facets of the interaction between the inhabitants of Borriana and the sea. In addition, this literary route will be used as educational material in local schools, with which this route becomes a didactic and informative product at the same time for both visitors and locals. The text begins with a review of the main concepts related to literature and tourism in contact with the Mediterranean Sea. Next, it is explained how the literary route has been strategically adapted, avoiding to be a decontextualized touristic product: local authors, social awareness and other particular idiosyncrasies; for instance, the wide range of water sports that Borriana hosts