Arte, Individuo y Sociedad (ISSN 1131-5598, ISSN-e 1988-2408) is a quarterly journal that publishes articles and research studies on the visual arts and how they relate to the social, historical, political and cultural context from different scientific fields, particularly creative and artistic education. In addition to scientific articles, bibliographical reviews are also included.
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Research on film editing in Web of Science in communication, film, radio & television, psychology and neurosciences & neurology
This article provides a descriptive analysis of the scientific articles available on Web of Science focusing on film editing from 1976 to 2019 (n 148). The bibliometric analysis takes into account the author, gender, university affiliation, language, journal, nationality of the journal, year of creation of the journal, work typology, keywords, year of publication, number of citations obtained and the WoS category in which these publications are included. Furthermore, a quantitative analysis of the abstracts and articles of all publications available online was carried out. Its purpose is to identify the topics, samples and methodologies most frequently used. Results show that there has been a slight increase in interest in editing from 2015 onwards. However, there is little interest in it. Despite the fact that there are a greater number of magazines that cover the subject, each one publishes only one article a year on editing. The journals with the most articles on editing are British and American, but the Spanish Atalante also stands out. The majority of publications are in journals that deal with editing from a cognitive or neuropsychological perspective and which are the ones with the most citations. Research on editing usually provides an analysis of the editing of an author’s filmography or of specific techniques or films. They mainly follow a qualitative methodology, focused on resources or authors linked to constructive editing, or a neuropsychological experiment.
Copyright (c) 2021 Arte, Individuo y Sociedad
Robert Davol Budlong: the industrial design of radios and accessories for the new home
The appearance of new materials and technical processes brought with it the evolution of industrial design, one of the most decisive disciplines in the evolution of humanity towards what is known as the welfare state, taking its first steps in the 1930s. The substitution of natural materials by synthetic ones made it possible, for the first time, the making of everything that was only desired before, giving rise to the paradise of objects that contemporary alchemy of plastic and the introduction of new techniques allowed in its manufacture. The development of mass consumption brought about by plastic objects made the figure of the designer necessary. His role would be even imposed on the figure of the artist, coming to directly influence not only the manufacturing processes but also its structure and of course the final appearance of the object. This article based on the work of Robert Davol Budlong, one of the great North American designers, is based mainly on the study of patent application forms in the United States Patent and Trademarks Office accessible online (USPTO. 2019). In this way we document the authorship of numerous objects that took the first steps towards contemporaneity.
Inquiries on Matters Relating to the Processes of Artistic Creation from Practice
This article proposes an approach to the construction of meanings during the processes of creation. It is an inquiry on matters relating to this process made from one’s own creative experience. We aim to recognise some of the creative motivations, focusing on ways of defining interests and communicative intentions. We accept from the beginning that creative intentions can be volatile, diffuse and changing as are interpretations engendered by artworks over time. The own creative experience will be the research material with the advantages (proximity of the experience) and the disadvantages (subjective deviation). We play down any striving for a methodological generalisation. However, other authors may have experienced parallel processes. The concept of “artistic research”, currently being discussed, shall serve as a theoretical framework.
Copyright (c) 2020 Arte, Individuo y Sociedad
Living after the catastrophe. Art as intersection between living image and consciousness. An approach to the 'Chernobyl' series from the ontology of the image
This article approaches the catastrophe from the Chernobyl series, by conducting a research exercise-oriented between analysis and transgression to investigate our contemporaneity, from establishing an interpretive attitude that considers the content as the basis of the action challenge and the overflow of modern technique, a matter that will be dealt with from the thinking operations of Heidegger and Deleuze, which constitutes an interweave that critically achieves the positions of these philosophers regarding the mentioned filmic work. The choice of Chernobyl is justified by being a sample of the intermediate interaction in the series that has converted some series, by having the contents that go beyond mere entertainment and that are erected in audiovisual productions that touch the deepest dimensions and complexity of our existence. Reason for quality is a fundamental environment to think the intersection between the living image and consciousness.
Mutations in performing arts space in the digital age
Contemporary performings arts encourage intermediality, hybridization and dialogue between multiple media and languages. With the expansion of digital technology, live arts experience new possibilities that often directly affect even theatre ontology. This article aims to delve specifically into the notion of space and observe which are the aspects that have been transformed regarding the traditional notion of space, a space based mainly until now on the co-presence of the participants subjects (public and performers). Through the analysis of various works, contributions of the digital medium in relation to the spatial issue are shown and how these new possibilities determine the processes of reception and aesthetic experience. For the knowledge of this current paradigm, the need to expand the analysis to the discourses around intermediality that improve new perspectives and ways of approaching the subject of study is evidenced.
Spanish women artists and their economic activity: precarious work in times of recession. Analysis and comparison from a global study
This paper describes the activity of Spanish women artists, based on the results of the research carried out by the authors at a national level with data provided by more than 1,100 artists, first in-depth analysis on the sector of visual artists in Spain, about their professional activity, economic and work circumstances, relationship with the art market, and its historical evolution during the last decades. For the first time in a study of this relevance, the authors have segmented the group of women artists, 52% of the total, analyzing their circumstances and comparing them with data provided by men and with global results, and contextualizing it within the current economic circumstances. Thus, together with general aspects of female creation in Spain and its relationship with the market, we provide unwritten data on the precariousness and inequality in which Spanish women artists live and work.
Copyright (c) 2019 Arte, Individuo y Sociedad
Considerations on transmediality, interdiscursivity and communicational interactivity in the digital Book-art (Hyperbook-art)
The consolidation of the use of digital technologies in art, as in any type of cultural expression in general, has resulted in many cases in a contemporary creative praxis characterized by the integration of different media in a confluent way, that is, a contemporary artistic production that is meant by the hybridation of ‘old’ and ‘new’ media, formats, languages and textualities. Jenkins called ‘cultural convergence’ to this liminal creative scenario based on transmediality. The aim of this article is to provide a theoretical-practical comparative approach of the transmedial and interdiscursive parameters of the digital Book-art (Hyperbook-art) considering its aptitudes as a phenomenon of communication highly interactive in the electronic art scene. The concepts transmediality and interdiscursivity are analyzed as ‘models’ of a method of study of the digital Book-art from semiotic postulates. Additionally, comparisons between these concepts and digital Books-art (Hyperbooks-art) are stablished in order to illustrate, identify and differentiate the varied creative strategies used in this type of works to articulate their discourse, and therefore in the contemporary artistic creation of similar precepts. Finally, it aims to offer tools for the analysis of works based on medial concurrence, new textualities and interactive communicative processes.
The power of the 'anti-iconic' photographic archive and its historical representation effect: South America on the modern global map
This article analyzes the power of the photographic archive, as a communication and knowledge strategy supported by objectivist premises, to build, from a private institutional framework, a narrative and discursive device that would historically redefine the role of the oil industry in the global society, and inserting marginalized cultures, such as South Americans, into a new regime of visual representation: a modern map. Methodologically, the case of the photographic archive constructed, between 1943 and 1950, by the oil company Standard Oil Company (New Jersey), is studied mixing traditional qualitative documentary methods and methods of visual studies, based on primary textual and photographic sources. The analysis of this case, which revolutionized the relationship between photography and history, puts on the table a relevant background to contrast the problems of contemporary communication linked to the phenomenon of post-truth and its relations with propaganda and advertising in the industry private.
The influence of the Arts as a motor of well-being: an exploratory study
In the last decades, the functions of art have been the subject of many research projects. However, few studies focus on the link between art and wellbeing welfare from the point of view of the participant. This paper represents an example for a descriptive exploratory correlational study that analyzes the link between art and wellbeing through an ad hoc on-line questionnaire, completed by 462 people of different age, sex, level of studies and artistic experience. A vast majority of them consider art as being able to improve their mood, music being the preferred artistic means for it. Some believe that art is a more effective approach than others such as for example sport, however most participants prefer to combine it with other disciplines. People with an artistic background or experience proved to be more likely to use artistic expression to create well-being.
The construction of the professional identity in university arts students via service-learning projects
This article investigates the representations of first year arts undergraduates emerging from a series of service-learning projects designed for groups at risk of social exclusion. A rubric was used in the design and assessment of the projects. Applying the presuppositions of Grounded Theory, two researchers carried out a qualitative analysis of the changes in the conception and justification of the projects that occurred during the academic year. The results highlighted three fundamental achievements made by the students: a) the understanding that art is an indispensable element in personal development and in social progress; b) the beginning of the process of construction of a professional identity in the field of the arts; and c) a reinforcement of the metacognitive dimension of learning. This last aspect increased the students’ awareness and commitment to their projects, and was a determining factor in the quality of their final products.
Artistic expression as a teaching strategy for the development of affectivity and self-esteem in people with Intellectual Disabilities and Fetal Alcohol Syndrome (FAS)
This article describes the artistic experiences of a person with Intellectual Disabilities and Fetal Alcohol Syndrome (FAS) in a visual art workshop conducted in the premises of a municipal school in the city of Yungay, Chile. After using exploratory research, case study methodology and approximation results with different painting and drawing techniques as teaching tools that aimed to develop artistic learning in the school context, it has been concluded that visual arts broaden the channels of visual expression and serve as a way to communicate affectivity and self-esteem through certain practical exercises and systematic actions that benefit the mental health of people with intellectual disabilities. The conclusion also reinforces the importance of a proper atmosphere for the teaching of Arts and the value of creative activity in the context of diversity, self-discovery and a more affective inclusion with the educational community in general.
Urban Art and Civic Learning: Bloom’s Taxonomy Applied to Quality of Life in Three Spanish Cities
Using a comparative approach, this study examines urban art in public space as an experience of civic learning and its relationship with perceived quality of life. The Spanish urban contexts of Pamplona, Madrid, and Ceuta are analysed, selected for their relative positions (higher, intermediate, and lower) in the Multidimensional Quality of Life Indicator published annually by Spain’s National Statistics Institute (INE). The research project to which this contribution belongs is organised in two phases: (1) an inventory, geolocation, and characterisation sheets of existing artworks, linking each intervention to its urban context; and (2) the administration of a citizen survey structured around the cognitive levels of Bloom’s Taxonomy, incorporating affective and operational dimensions. Survey results across the three cities show high visibility and recognition of artistic interventions and a predominantly positive appraisal of their influence on everyday life, although active public involvement in artistic projects remains at lower levels. As a methodological contribution, the study proposes a six-item synthetic version, applicable to mediation and social-impact processes, aimed at estimating the intensity of cognitive interaction between citizens and urban art.
Copyright (c) 2026 Arte, Individuo y Sociedad
The deconstruction of comics in the production of Ana Peters (1964-1967): visual culture and gender awareness in Spanish pop
This article analyzes the pictorial production of Ana Peters between 1964 and 1967, a period in which the artist developed a unique critical appropriation of comic book language. Using an interdisciplinary methodology that combines social art history, semiotic analysis, and feminist visual studies, this work examines how the strategies of fragmentation, repetition, and ellipsis of the vignette operated as mechanisms of contestation against the gender archetypes of late Francoism. The specific contribution of this research lies in unveiling how Peters' work does not constitute a mere mimesis of international Pop Art, but rather a visual counter-device that, by emptying mass consumption iconography of its content, highlights the fracture between the economic modernization of the developmentalist period and the persistence of patriarchal structures. The study concludes that, far from being a tangential practice, Peters' drawing stands as an exercise in semiotic resistance fundamental to understanding the emergence of gender awareness in the Spanish avant-garde of the sixties.
The Photographs of the Abdullah Frères Studio in the Collections of the RoyalPalace Archive and the Cerralbo Museum. A Perspective on the Orient
The Royal Palace Archive and the Cerralbo Museum, both in Madrid, preserve two important photographic collections from the studio Abdullah Frères, a prominent family of nineteenth-century photographers based in Constantinople. Their photographic studio came to be regarded as one of the most important in the Ottoman Empire, and for a time they opened branches in Smyrna and Cairo, which indicates their significance in the photography business carried out in the Near East and which so strongly attracted European tourists because of its Orientalist character. In addition, they served as official photographers to the Ottoman sultans Abdülaziz and Abdülhamid II. It is unknown how the collection held in the Royal Palace Archive arrived in Spain; it may have been a diplomatic gift to the royal court. The collection of the Cerralbo Museum is the result of the journey that Enrique de Aguilera y Gamboa, XVII Marquess of Cerralbo, made to Constantinople at the end of 1889, accompanied by his wife and her two children. This research focuses on a detailed analysis of both photographic collections with the aim of contributing to the study of Ottoman photography and to a better understanding of the phenomenon of nineteenth-century Orientalism within the Spanish context.
Art and representation in sites of memory: aesthetic tensions and the transmission of Argentina’s recent past
This article examines how contemporary disputes over the representation of Argentina’s last dictatorship (1976–1983) are negotiated through artistic practices developed in sites of memory in the city of La Plata, Buenos Aires Province. The aim is to analyze the aesthetic decisions, processes of collective debate, and pedagogical challenges involved in the production of two murals located in public health institutions. Methodologically, the study adopts a qualitative approach combining fieldwork, interviews, and iconographic analysis of the artworks. The inquiry is organized around three interrelated dimensions -aesthetic, procedural, and pedagogical- which make it possible to understand both the formal choices and the tensions that emerged during their production and in their projected modes of public transmission. The findings show that disputes over the representation of horror are not resolved solely at the theoretical level but unfold through concrete processes of negotiation among actors with diverse expectations. Furthermore, the pedagogical dimension, central to these spaces, tends to receive less reflection than aesthetic discussions, which affects the conditions under which the murals become intelligible in the public sphere.
From Learning to Look to Grasping the Gaze: The Political Management of Popular Photography in Weimar Germany (1919–1933)
The study of amateur photography in Weimar Germany (1919–1933) sheds light on the impact that the period's characteristic aesthetic approaches and technical advancements had on civil society, as well as on the persistent attempt to educate the public in order to harness this activity for vested interests. Given the scarcity of research addressing this latter aspect, this article presents a specific, comparative analysis of ideas originating from photography organizations and publications aimed at amateurs –with particular emphasis on those promoted by the two major left-wing political parties– and examines their respective implementation models. This approach reveals the prevailing general conception of amateur photography, the mechanisms used to bring it under control, and the overall outcomes of these efforts. Ultimately, the analysis fosters a better understanding of the subsequent attempt to enlist amateur photography in the service of ideas and projects that were openly harmful.
Laughing to disobey: humor and irony as strategies of visual resistance in feminist art of the Spanish Transition
Feminist art has been approached through interpretative frameworks that have tended to prioritise denunciation, the gravity of the conflict or the expression of anger, thereby relegating other equally effective political strategies to the background. In contrast to this restrictive reading, this article analyses the use of humor and irony as specific forms of visual resistance in feminist art produced during the Spanish transition. Adopting a feminist epistemological approach, the study focuses on the practices of Esther Ferrer, Isabel Oliver and Paz Muro, examining how their works incorporate languages linked to visual culture and media imagination to subvert hegemonic discourses on femininity. Through parody, playfulness and exaggeration, these artists challenge the aesthetic canon, the confinement of women to the domestic sphere and the cultural construction of the supposed lack of female talent. This work argues that irony operates as a specific form of symbolic resistance which, far from softening the conflict, introduces a critical distance capable of generating shifts in systems of representation and activating critical readings of images.
Chlorotype as visual ecology: rethinking critical visual literacy in early childhood
In a context shaped by the intersection of ecological crisis and digital visual saturation, this article proposes rethinking critical visual literacy from early childhood. Rather than approaches focused on the interpretation of circulating images, it situates the critical dimension in the material production of images. Drawing on arts-based research, the study examines a chlorotype practice with children aged one to two, understood not as a didactic technique but as an alternative visual regime. By linking image-making to ecological processes such as photosynthesis, chlorotype introduces a slow temporality, a non-extractive relationship with matter, and an understanding of the image as an event. The findings show that, at this stage, children’s relationship with the visual is constructed through action, attention, and encounters with materials and processes, shaping perceptual dispositions prior to screen-based culture. The article thus expands the notion of visual literacy, proposing it as an embodied eco-aesthetic practice that articulates education, visuality, and ecology through experience.
Influence of packaging design on product quality perception. A study about typical foods from the central region of Portugal
According to the scientific literature, packaging design is an essential factor in constructing the symbolic value of a product and therefore conditions people’s purchase intention. Based on this premise, the study analyzes the influence of packaging on the perceived quality of typical foods from central Portugal (Beira Baixa, Beira Alta, and Alto Minho), such as olive oil, honey, wine, smoked products, and fruit. The main objective is to determine whether the quality and innovation of packaging design directly influence the perceived quality of the product and to analyze the impact of various attributes (shape, material, label, graphic design and other components) on this assessment. The research methodology combines a panel of seven graphic design experts (for the evaluation of packaging design) and a quantitative survey applied to consumers (n = 75). The results reveal a very significant relationship between the quality of the design and the attributed quality of the product, as well as the particular impact of the graphic design of the label on these evaluations.
At the boundaries of reality: Is the interactor a character? An interdisciplinary inquiry in interactive art and narrative studies
El auge de nuevos dispositivos e instalaciones interactivos ha dado lugar a un nuevo tipo de espectador, que funciona como componente narrativo: el interactor. También parte de la narrativa, el personaje ha sido entendido como una entidad ficticia distinta, dotada de agencia y vida interior (Eder, Jannidis y Schneider, 2010). ¿Puede el interactor considerarse un personaje? Este artículo explora áreas de mezcla, ambigüedad o incluso transgresión que surgen cuando ambos conceptos se intersectan, a fin de identificar condiciones en las que esto puede ocurrir. La reflexión surge a partir de formas artísticas como el arte digital interactivo creado por Bianchini (2004) o Davies (2013). Estas obras nos invitan a navegar distintos tipos de umbrales: (a) mediante el uso del Interaccionismo Simbólico para destacar cómo las obras están imbricadas en límites perceptuales, en los que el interactor es percibido como espectador por unos y como personaje por otros; (b) al concebir la metalepsis como inherente a la condición del interactor, un agente transgresor que cruza los límites entre los mundos real y ficticio; y (c) al cuestionar los límites del concepto de personaje, particularmente el criterio de ficcionalidad. Sostenemos que el interactor puede entenderse como un personaje en determinadas condiciones teóricas, mediáticas, subjetivas y relacionales.
Berlanga’s Cinema and Historical Memory in Spain
This paper examines the memorial function of Luis García Berlanga’s cinema in relation to the Spanish Civil War, Francoism, the Transition and Spanish democracy. Its aim is to explore how his films transform events, institutions and social experiences from the recent past into materials of cultural memory. The study adopts a qualitative, hermeneutic and ftextual film analysis applied to Bienvenido, Míster Marshall, Plácido, El verdugo, the Leguineche trilogy, La vaquilla and Todos a la cárcel. The analysis considers the temporality of production, represented temporality, satirical strategies, the choral structure, social spaces, forms of violence or repression, and the memorial function of each film. The results show that the films made under Francoism acquire memorial value as contemporary satires later reread as a cultural archive; the Leguineche trilogy captures the continuity of elites; La vaquilla revisits the Civil War through esperpento; and Todos a la cárcel problematises the democratic institutionalisation of remembrance. The article concludes that Berlanga turns choral comedy into a critical form of historical knowledge, capable of revealing the persistence of power and the contradictions of contemporary Spanish memory.
Intercultural Arts Education: discourses, practices and educational challenges. A systematic review
This article presents a systematized review of the scientific literature on the relationship between art education and intercultural education. The aim of this paper is to conceptualize the term intercultural art education, as well as to identify the pedagogical challenges faced by this approach. This research is part of the project Inclusive Online Arts Education: development and evaluation of a comprehensive MOOC model for teacher training (EDARCLUSIÓN) (PID2021- 127124OB-I00). The choice of systematic review as a working methodology sought to create a state of the art on the subject. Using the SALSA (Search, Appraisal, Synthesis, Analysis) approach, a total of 190 articles from the Scopus and Web of Science databases were analyzed, exploring this intersection between the two fields studied. The results point to four fundamental aspects: ending classic narratives around diversity, adopting a critical perspective in arts education, promoting new curricula and methodologies, and encouraging teacher training. Overcoming these challenges will be essential to promoting inclusive education.
Territory exploration as sculptural action: Intercultural dialogue and research-creation at the University of Jordan
This article presents the results of a research-creation project developed at the Faculty of Art and Design of the University of Jordan in Amman, within the framework of the Jerash Festival in the 2024 edition. The central premise argues that the exploration of territory is not a preliminary step to creation, but a sculptural action in itself. Through a collaborative methodology with the Sculpture Department, the study shifts the focus from the final artistic object to the processes of cultural and academic exchange. Collaboration with Jordanian professors and students allowed for the hybridization of contemporary languages with local traditions, transforming the classroom into a space for mediation. The results indicate that the deepest impact of the stay lies in the generation of shared knowledge and the strengthening of international research networks. It is concluded that artistic practice, in contexts of institutional reception, acts as a tool for academic diplomacy and the redefinition of spatial narratives in the Middle East.
Diagramming the Possible. Projective Tools in the Initial Phase of the Pictorial Project
This article examines the diagram as a projective tool in the early stages of the creative process, approaching the outset of an artistic project as a field of tensions in which intuition, desire, image, and form begin to take shape in relation to one another. From a qualitative, theoretical-analytical, and essayistic approach, situated in dialogue with A/r/tography and Visual Arts-Based Educational Research, the study combines conceptual review, analysis of contemporary artistic practices, and pedagogical experience. Through the examination of notebooks, maps, moodboards, and visual process archives, it identifies modes of pre-figurative thinking that make it possible to understand the diagram as a visual technology of thought in the act. As its main contribution, the article proposes three principal diagrammatic regimes: inter-factual, post-factual, and pre-factual, conceived as tactical modulations that can be activated according to the needs of the project, and not necessarily in a sequential order. The article argues for the diagram as an open device capable of accompanying the transition from the possible to the potential, offering a flexible framework for sustaining creative inquiry without prematurely foreclosing it; an approach that is especially relevant in pedagogical contexts of artistic training. While the analysis is situated within the course Pictorial Projects in the Bachelor’s Degree in Fine Arts at the University of Murcia, the proposed framework is intended to be transferable to other contexts of project-based creation and artistic learning.
Art, heritage and teaching innovation: The EDUArtHeritage project as a model of interdisciplinary and intercultural learning
This article analyzes the EDUArtHeritage1 Teaching Innovation Project, an interdisciplinary and international experience that integrates art, heritage, and technology within teacher education. The main objective was to promote meaningful learning of cultural heritage through active and collaborative methodologies that connect artistic education with local identity and intercultural cooperation. A mixed research method was applied, combining quantitative and qualitative analyses within an action research framework. A total of 217 students and teachers from Spain, France, and Portugal participated, developing processes of historical research, ceramic creation, and audiovisual production using Artificial Intelligence tools. The results show significant improvements in creative, digital, and intercultural competences, as well as strong social impact derived from the public installation of the ceramic artworks produced. The study concludes that artistic and heritage education, supported by technological and pedagogical innovation, provides an effective pathway to fostering cultural sustainability, inclusion, and international cooperation in higher education.
De dentro a fuera. Una conversación con María Gimeno
Interview with the visual and performance artist María Gimeno.
Trauma, art, and memory in the work of Guillermo Núñez: A critical reading of El jardín de los jardineros (1974)
This article examines the epistemological limits of history and memory in the reconstruction of the past, addressing this tension through trauma theory and its inscription in art. The analysis focuses on the case of chilean artist Guillermo Núñez (1930–2024), who was detained and tortured by the Dirección de Inteligencia Nacional (DINA) in 1974, during the early months of the chilean civic-military dictatorship (1973–1990). The study explores the series El jardín de los jardineros (1974), conceived after his first imprisonment at the Air Force War Academy, one of several detention centers in which he was held during two separate arrests. It argues that, in the face of the impossibility of discursively representing trauma, art functions as a critical device that interrupts historical linearity, eludes explanatory frameworks, and opens a space for a sensitive form of knowledge that challenges the limits of what can be said.
From Symbolic Form to Epistemic Artifact: Praxeological Analysis of Mathematics in Historical Images for Interdisciplinary Art Education
Today, visual arts and mathematics are taught as isolated territories. This disconnection has fragmented learning, obscuring the profound dialogue between number and form. This article bridges both disciplines. To achieve this, it analyzes historical images not merely as aesthetic objects, but as conceptual tools that process and transmit mathematical thought. Through the Anthropological Theory of the Didactic (ATD), we propose an adaptation of the praxeological model applied to historical images, enabling the "reading" of the geometry and arithmetic concealed within art. To verify its utility, we examine the works of six masters—ranging from the precision of Da Vinci, Pacioli, and Dürer to the modernity of Oliver Byrne and M. C. Escher—deconstructing the praxis (tasks and techniques) and logos (technologies and theories) inherent in each masterpiece. Results confirm that these images operate as genuinely autonomous didactic media, capable of structuring, justifying, and legitimizing geometric, arithmetic, and topological knowledge through visual language. We conclude that integrating this perspective into the art classroom and STEAM projects not only enriches the curriculum but also restores the image's power as a tool for discovering the world. Ultimately, this approach rescues mathematics from mechanical repetition, transforming it into a shared visual experience.
Bulegoa z/b, an office for art and knowledge. Singular case in the divergent cultural network-context on the gentrification process in Bilbao
Over the last two decades, a constellation of independent artistic and cultural initiatives has emerged in the city of Bilbao. Their activity forms an alternative cultural network system that provides mutual support for the city's artistic context. It is essential to highlight and locate these initiatives, as they play a critical role in the relationship between art and urban development and the prevailing cultural system, thereby constituting a specific response to the gentrification process initiated by the so-called Guggenheim Effect. By situating the activities of these initiatives in a paradoxical position, both within and outside the institutional system, we question their actual and situated functioning and the nature of their contribution, with the aim of offering a perspective which could be transferable to other situations. To this end, we selected Bulegoa z/b as a case study, as it presents methodological keys to the creation of thought around the current artistic, pedagogical, cultural, and social axis, weaving collaborations at the local and international levels. Accordingly, Bulegoa constitutes a critique not only of the cultural system, but also of artistic and academic institutions, while offering an alternative to it.
Nature as a paradigm of the creative process. An approach to the art-nature relationship in contemporary painting
This article establishes a series of relationships between specific painting practices and different concepts of nature, from which emerges a concrete and original approach to the art-nature binomial as an object of artistic research. Through these relationships, it delves into key aspects of the creative process, such as the idea of ​​transformation, necessary for understanding contemporary abstract, gestural, and organicist works, and certain related forms of landscape painting—works, in general, that are heirs to Romanticism. The text analyzes various examples of painting within a broad and current artistic context, revealing how its extraordinary qualities and expressive possibilities can show parallels with nature, allowing us to understand how nature manifests itself through the pictorial material. With the aim of offering a comprehensive view of the object of study, the art-nature relationship, currently subject to the parameters of contemporary art, has been extended to some expanded painting practices with a more hybrid and/or critical profile, as well as to expressions of contemporary drawing, whose creative processes reveal aspects common to those described.