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

Due to the presence of colonial cultural paradigms that hierarchize some musical practices over others (notorious in a large part of Latin American Eurocentric Western academic contexts), the interpretative development of traditional Latin American piano music has been hindered, generating a gap with traditional European music in instrumental interpretative practices. This is due to the lack of publication and conservation of the Latin American repertoire for piano and its absence in the curricula in academies and conservatories, which causes a notable lack of knowledge of the context and the interpretation of this repertoire itself. An analysis of current piano syllabi in select artistic training programs reveals the urgent need to foster genuine dialogues based on the horizontality of musical practices, rather than on hierarchical structures.

This communication expresses the reflections that arose as a result of the pandemic period in three categories: education, research and creation in the Performing Arts. In a large way, the event of the pandemic and its effects on society and the world have been exposed. Once the crisis is over, living the experience in the aforementioned categories allows us to formulate some considerations about the elements that were attached in the midst of the emergency, until they became acts of appropriation. Although the scene before the pandemic was already in a phase of displacement, to which other communication codes had been incorporated (including telematic resources), issues of gender, inclusion and mainstreaming were added to this. Thus, the theater of large audiences, teaching centered on the figure of the teacher and scenic research from presence moved to another position, the concept of the theatrical coexistence was put in crisis, while the methodology of research-creation and interdisciplinarity were the ways to design the creative route that would allow connecting the artistic universe and virtual environments, with the idea of ​​continuing production, teaching and confrontation with the public.

The burgeoning capacity of artificial intelligence (AI) to generate artworks has ignited substantial interdisciplinary interest. However, the absence of a shared conceptual framework has hitherto impeded effective communication and collaboration among cognitive science, computer science, and art theory. This study addresses this lacuna through a comprehensive literature review by developing a transdisciplinary definition of an AI-generated artwork. It is proposed that an AI-generated artwork constitutes the confluence of three essential elements: (1) an autonomous AI-production of a new and surprising idea or artifact, (2) which passes an internal evaluation mechanism embedded in the very same AI, and (3) is considered a candidate of appreciation by a human audience. This definition provides a unified conceptual foundation to facilitate interdisciplinary research and deepen understanding of the nature of AI-generated art. Subsequent research should explore the applicability of this definition to diverse forms of AI-generated artworks and evaluate its implications for artistic practices.

This article presents the results of a research-creation project aimed at making visible the emerging   protest repertoires that arose during the 2019 social uprising in Colombia through the development of an audiovisual product in the form of a documentary. The project gathers the testimonies of five artists who gained significant public visibility during the mobilizations, contributing their musical compositions and sharing the creative motivations behind their work. First, the concept of “protest music” is examined, highlighting its contributions to society across various contexts. Second, the design and narrative structure of the audiovisual product are described, emphasizing a documentary style aligned with the project’s  enunciative intentions. Finally, the outcomes related to the social appropriation of the documentary are discussed, based on insights gathered from a focus group

This article is based on the study presented as a degree project to apply for the Bachelor of Social Sciences at the University of Cundinamarca, approved in June 2024. The study employed an ethnographic methodology, conducted with five artisan families from the municipality of Silvania—one of which is my own. The primary aim was to examine how artisanal know-how is transmitted through mechanisms of collective memory, the processes involved in craft production, and the current forms of resistance employed by artisans to preserve their traditions. This resistance is particularly significant in light of the challenges posed by the construction of a third lane on the main road that passes through the municipality

In the field of art, the term medium is increasingly used to define and discuss the interactions that occur during or between the conception, production, and appreciation of any plastic and/or visual work. Analyzing the components that constitute a medium is an alternative to revisit some of the effects contained in the definitions and theorizations that have been made about them, while also offering new perspectives for understanding what operates in them. In line with this, the proposal of the post-media condition presented by Rosalind Krauss in 1999 is taken to (re)think the gestures contained in the media, to notice their inherent traversal (transitivity) and, in this way, to consider the possibility of a medium or a denomination that groups that transitivity to generate a (stereo) solidity of the representative action of art

This article examines the importance of public spaces as conduits for communication and education and platforms for spreading awareness of global warming through artistic expression. It explores how these spaces function, the impact of artworks in urban environments, and the role of public art in addressing sustainability issues. By categorizing public spaces into social and quotidian realms, the article highlights their potential as forums for discussion and learning about global issues. The article uses case studies, such as the projects of Daan Roosegaarde and Eve Mosher, to illustrate how climate art engages viewers in contemplating a more sustainable future through emotional and sensory experiences.

This article offers a reflection on the role of stage lighting when consciously manipulated by the actor, demonstrating how this expands interpretative possibilities and broadens the universe of emerging meanings. This phenomenon becomes particularly evident when light is integrated into the character’s construction. To understand this process, the paper first examines the concept, characteristics, and phenomena associated with stage lighting. It then investigates the technical implementation within theatrical lighting systems and, finally, explores its application in acting creation  

This article focuses on the concept of co-creation, a growing paradigm in contemporary art, with special emphasis on its relational dimension. It contrasts the framework proposed by Nicolas Bourriaud with the ontological approach to relationality articulated by new materialist theories. Given the significance of co-creative projects in Latin America—as poetics of deviation—this study identifies their distinctive characteristics. The objective is to explore how the configuration of a post-anthropic aesthetic challenges traditional communicational models and instead foregrounds a primordial relationality that constitutes us ontologically, engaging us in networks of affect, responsibility, and care.

The decolonial thinker and activist Aníbal Quijano proposed that the coloniality of power can be understood culturally as the coloniality of the imaginary. Consequently, the coloniality of power and the coloniality of the imaginary are two perspectives for addressing the same major problem: the constitution of the colonial matrix of power with which modernity/coloniality originated in the 16th century in America. And given that this matrix continues to reproduce itself today, seeking to inscribe itself in our corporeality, we feel compelled to take a position: to continue searching for a place within the current colonial order or to feel-think-act so that another non-colonial order is possible.