Arte, Individuo y Sociedad

Rostros fragmentados en la escultura de Daniel Pérez

David Vázquez-Couto — 2026-04-08

Naturaleza dibujada. Gabriel de la Riva (2025). Grupo de investigación HUM976. Expregráfica. Lugar, Arquitectura y Dibujo, Universidad de Sevilla. 72 pp. ISBN-978-84-09- 74775-7 https://hdl.handle.net/11441/175272

Antonio Gámiz-Gordo — 2026-04-08

Abadías, Laberintos y Píxeles: Narrativas transmedia desde “El nombre de la rosa”. Fran Mateu (2025). Publicaciones Universidad de Alicante. 144 páginas. ISBN: 978-84-9717-909-6

Mario P. Martínez-Fabre — 2026-04-08

Encuentros inesperados entre arte y pedagogía. Transformando la formación de profesionales de la educación para la inclusión y la interculturalidad. Sales, A. (Coord.) (2025). Publicaciones de la Universitat de Lleida / Universitat Jaume I. 138 págs.

María Vidagañ-Murgui — 2026-04-08

Aprender a mirar. Feminismos y prácticas artísticas. Marián Cao (2025). Madrid, Cátedra. 368 páginas

Martín Caeiro-Rodríguez — 2026-04-08

Madrastros. Parra Bañón, José Joaquín, Santiago, Chile. Metales Pesados, 252 páginas, 2025, ISBN: 978-956-6203-98-8

José G. García-Caballero — 2026-04-08

Soledades creativas. Ricard Huerta (2025), Sevilla, Editorial Aula Magna, 249 páginas. ISBN: 9791387666439 e ISBN eBook: 9791387666972

Vicente Monleón — 2026-04-08

Subir a la nube: el cielo está pixelado

David Domínguez-Escalona — 2026-04-08

Horizonte y límite. Visiones del paisaje

Rosa García — 2026-04-08

Dar nada para ver. Exposición de Paula Rubio

Angel Pérez-Marcos — 2026-04-08

Las raíces de la ciencia

Alfonso López-Ruiz — 2026-04-08

La exposición Las raíces de la ciencia, presentada en la antigua capilla del IES San Isidro de Madrid, aúna elementos científicos, expositivos, artísticos y educativos en un condensado espacio, que permiten al visitante realizar un recorrido por la historia de la ciencia con fines formativos desde el siglo XVII.

From error to meaning: the residual image as a form of visual thinking

María Rodríguez-Valdés — 2026-04-08

In a visual culture dominated by efficiency, sharpness, and predictability, this article proposes a critical reflection on the poetic, conceptual, and material value of what is usually left outside the frame or the final version of a work. Through a qualitative methodology, based on the intersection of critical image theory and the analysis of contemporary artistic practices, it examines cases where the residual becomes the generative core of the project. Found images, discarded fragments, technical errors, and intervened layers are analyzed as activators of new visual narratives, engaging in a dialogue between personal archives, the aesthetics of the unfinished, and digital-analog hybridization processes. The article argues that residual images should not be understood as failed elements, but rather as spaces of resistance and meaning, capable of expanding notions of authorship, temporality, and sense. In a present saturated with images, attending to visual residues emerges as a necessary gesture to redefine modes of production and reading in graphic and pictorial arts.

Everything played out in an instant: documentary photography and the visual archives of childhood in the modern city

Nicolás Stutzin — 2026-04-08

This article examines the role of photographic records of children playing in the street in postwar architectural debates and investigates how, until the advent of color photography, black-and-white documentary imagery contributed to shaping diverse urban imaginaries associated with childhood. Between the first playground inaugurated by Robert Moses (1934) and the last designed by Aldo van Eyck (1978), three paradigmatic cases are analyzed and compared: the playgrounds of New York, Amsterdam, and London, whose photographic archives were instrumental in the configuration, dissemination, and historiography of each project. The systematic study of municipal collections, historical holdings, and institutional repositories carried out across these three contexts demonstrates that such images, beyond documenting recreational spaces, articulated distinct visions of childhood, architecture, and the city: legitimizing patriotic narratives in the United States, constructing collective memory in the Netherlands, and narrating the ephemeral and disruptive action of British adventure playgrounds vis-à-vis the logics of modern planning. Finally, this comparative analysis situates this legacy within contemporary challenges surrounding the representation of childhood in a context marked by post-photography and the progressive erosion of photojournalism as a critical record of urban life.

Haptic evaluation of geometric textures in inclusive graphic materials: insights for multimodal communication and learning

Pilar Correa-Silva — 2026-04-08

The following article presents the results of a study that evaluates digitally generated geometric textures applied to inclusive graphic materials, with the purpose of identifying which formal parameters—shape, height, density, directionality, and order—enhance the discrimination, recognition, and interpretation of embossed information by students who are blind or have low vision.
A set of 18 geometric textures was designed in transparent PVC, selected in collaboration with blind experts and used in comparative, discriminatory, and ordering tests, along with interpretation exercises involving tactile images and embossed maps. Evaluations were conducted with children and adolescents who are blind or have severe visual impairment, all experienced in Braille and tactile graphics.

The findings indicate that tactile textures, when interpreted háptically, enable the identification and association of shapes and structures that convey graphic information, while also enhancing perceptual discrimination and enriching the user’s cognitive experience with an additional esthesic appeal. The study offers criteria and parameters for the future development of tactile materials aimed at inclusive education and multimodal learning for visually impaired users.

Everyday Objects and territory: Knolling With Victims of the Armed Conflict in Colombia

Paula A. Escandón-Suárez — 2026-04-08

This article explores the social construction of territory in Palestina, Caldas, Colombia, through the co-creation and analysis of Knollings-style photographic compositions of everyday objects selected by victims of the armed conflict. The research focuses on how this artistic technique, applied to significant objects, can reveal layers of meaning in the concept of territory, from its material and practical basis to its sensory-emotional and semantic dimensions. It centers on the question: How can the visual art technique known as Knolling, using everyday objects belonging to victims of the armed conflict, reveal the social construction of territory? The results demonstrate that reflective Knolling allows for a visual archaeology of territory through the memories of experiences channeled into everyday objects. These findings not only enrich the understanding of territory but also inspire the participatory co-design of a ludic transmedia tool to foster coexistence in post-conflict contexts.

Transcendental phenomenology applied to research in artistic creation: the creation of portraits as research

Carlos Navarro-Moral — 2026-04-08

Investigating the creative process is a challenge faced by art-based research. Few studies have sought to reveal the complexity involved in the artistic creation process. The research presented below is an example of how to approach the world of artistic creation in order to analyze and understand it. To this end, a transcendental phenomenological study was conducted during the creation of two portraits of a young woman named Irene. The study began with an in-depth analysis of Irene's identity using semi-structured interviews, followed by the creation of reflective journals that captured the transcendental phenomenological processes associated with the creation of Irene's portraits. The value of this research lies in the fact that its results specifically show the analysis carried out on the process of artistic creation, opening, to some extent, the “black box” that encloses the magic of the creative process.

National Narratives and Nighttime Spectacles in 1937: Water and Light Architectures at the Paris and Düsseldorf Expositions

David Caralt — 2026-04-08

In May 1937, two European expositions opened simultaneously: the Universal Exhibition in Paris and the Great German Reich Fair in Düsseldorf. While France presented the theme of art and technology applied to modern life, Germany exhibited the productive culture of National Socialism. At both fairs, architects, artists, and technicians designed various choreographies of illuminated water in public spaces. This article analyzes and compares these ephemeral architectures to determine whether they played a significant role in relation to each country's politically opposed national agendas. Using contemporary publications and archival images, we contrast aspects such as the strategic placement of fountains within the grounds, their relationship to preexisting water resources, the technical systems deployed, the role of spectators, and the iconographic production. While France managed to create an ephemeral monument through an ambitious comprehensive spectacle designed collaboratively and in line with the exhibition's theme, in Germany the water and light displays functioned only as nocturnal entertainment, without reaching the level of sophistication of other National Socialist political scenographies.

Profiles of Secondary School students in relation to creativity and arts education: a basis for personalized teaching

Ana Leonarte-Benedí — 2026-04-08

Creativity is an essential skill for personal, academic, and social development. In the educational context, the development of creativity has become an important goal for enhancing not only creative skills but also the overall development of students. This is even more important in the case of arts education, which is highlighted as a particularly relevant space for the development of creativity. However, knowing the initial profiles of students in relation to these variables is essential in order to enhance their development. Therefore, this study aims to identify profiles among students in relation to creativity and arts education, and to establish an empirical basis for the personalization of learning. To this end, a cluster analysis was carried out on a sample of 441 secondary school students in the Autonomous Community of Aragon. The results obtained have made it possible to establish four different profiles in relation to attitude and predisposition towards arts education, creative skills, and perception of their own abilities. In addition, the results provide basic pedagogical guidelines to be implemented for each of the student profiles.

Towards a new “form of knowledge and dissemination”. Introducción al Museo del Prado and the limits of art documentaries in Spain during the eighties

Fernando Ramos-Arenas — 2026-04-08

Based on Introduction to the Prado Museum, an art documentary from 1987 by the director Basilio Martín Patino, this text explores the relationship between the museum and the audiovisual world in the mid-eighties. The museum is first analysed as an institution interested in redefining itself as something more than a ‘deposit’ of works and reaching other audiences through other means. The emphasis is also placed on how this example helps illustrate cinema entering a period of profound changes and gradual integration into an audiovisual landscape of blurred boundaries. The text presents an analysis of the production materials of this piece, unreleased until 2019, which are preserved at the Spanish National Film Archives Filmoteca Española. Methodologically, it also makes use of some approaches formulated in recent years within the field of media archaeology: thus, beyond the particular circumstances that tie this production to Spanish culture in the early nineteen eighties, Introducción al Museo del Prado can be also read as part of the pedagogical reorientation of a film culture that was breaking with the project of modernity initiated in the second postwar and exploring its limits by redefining its traditional purposes, uses and audiences.

Tunga and the School of Architecture of Valparaíso, Chile (1960–1970): a view on networks and poetic exchanges through letters

Julia Cavalcante de Andrade — 2026-04-08

This study investigates the poetic networks and exchanges between the Brazilian artist Tunga (1952–2016) and the School of Architecture of the Pontifical Catholic University of Valparaíso (PUCV). The research focuses on the 1960s and 1970s, a period during which Tunga, accompanying his father, the poet Gerardo Mello Mourão, came into contact with the Chilean school, known for its pedagogical approach integrating architecture, visual arts, and poetry. The study is primarily based on the analysis of letters received by Tunga from founding professors of the school, Alberto Cruz, Godofredo Iommi, Manuel Casanueva, and José Vial Armstrong, supplemented by the artist’s manuscripts and interviews. The methodology combines the analysis of primary sources with theoretical frameworks drawn from intellectual biography (Dosse), biographemes (Barthes), and actor-network theory (Latour; Lepetit), enabling the identification and mapping of key interlocutors. The analysis demonstrates that these relationships extended beyond Tunga’s youth, sustaining affective, pedagogical, and poetic exchanges through the 1980s and 2000s. Through the correspondence, it becomes evident that the interaction with the School of Valparaíso constituted an essential fragment of Tunga’s creative trajectory, underscoring the importance of formative experiences for understanding his artistic path from an expanded perspective.

Biosystemic Principles and Gigamaps for Visualizing Complexity: The Case of Constructing a Design Research Group

Ever Patiño — 2026-04-08

This article proposes a framework of biosystemic principles to visualize and manage complexity through gigamaps, addressing the lack of a unified language and semantics in systemic design. Drawing on principles of living systems—entropy, self-organization, interdependence, emergence, and evolution—and on systemic network properties—self-limiting, self-generating, and self-perpetuating—the Design Research Group (DRG) of a biocentrically oriented university department was constructed and analyzed through participatory workshops and iterative visualizations. The methodology combined a systematic registry of 60 research outputs with progressive maps, coding relationships and principles to reveal critical nodes and coherent subsystems. The results highlight, among other findings: (i) interdependence as a transversal property structuring non-linear networks; (ii) self-organization of subsystems without central control; (iii) entropy as an enabling force for asymmetric reconfigurations; and (iv) emergence and autogeneration of concepts during map maturation. An operational table of indicators and heuristics is presented to map each biosystemic principle across information recording and synthesis phases. The study concludes that these principles render systems more legible, governable, and evolvable without loss of identity.

From Raphael Sanzio to John Baptist of Toledo: evidences of the Renaissance drawing in Spain before the plans for the Monastery of San Lorenzo de El Escorial

Antonio J. García-Ortega — 2026-04-08

The Spanish architectural drawings prior to the designs for El Escorial have been described as Gothic. The designs for this building were made by Juan Bautista de Toledo from 1560, long after the well-known “Letter to Leo X”. This letter was possibly written by Raphael Sanzio and Balthazar Castiglioni around 1518-19 and already describes the new Italian Renaissance drawing. In this regard, this paper analyzes the characteristics of the Spanish drawings during this period and identifies some important changes in the graphic aspects or related to the dimensioning. These changes were due to a logical evolution and also to foreign influences. However, floor plans continued to be used mainly to represent buildings, without elevations or sections. The methods traditionally used for the architectural design persisted, even after the Escorial drawings. This research addresses the significant transformations in the architectural drawing that occurred during this period, analyzes their causes, and identifies some useful criteria for future research. Furthermore, the aspects studied also allow us to reflect on the complex relationships between architecture, design and drawing.

Silenced images. Lydia Delectorskaya's collaboration in Matisse's studio

Magdalena Jaume-Adrover — 2026-04-08

This research analyses the collaboration between Lydia Delectorskaya and Henri Matisse based on a documentary corpus of images taken in the painter’s studio, where Delectorskaya can be seen actively engaging in the works with a constant and decisive presence. Between 1935 and 1954, Lydia D. systematically recorded the evolution of the canvases, compiling photographs and her own notes in her personal albums, along with some dictated by Matisse. Almost immediately, this practice became an integral part of the painting process, allowing them to review changes hidden by the brushstrokes, return to previous states, or even experiment with radical transformations. Part of this meticulous pictorial documentation was published by Lydia Delectorskaya in two of the three planned volumes (1986 y 1996); however, despite its undeniable value, both these books and the numerous gifts and dedications that Matisse offered her remain largely overlooked. Among them, an enigmatic drawing—two intertwined trunks dedicated to Lydia D., 1939—reveals, through the myth of Daphne, the intimate aesthetic and affective bond they shared for more than two decades, a relationship whose intensity, despite its evidence, remains silenced in official historiography.

Artistic Mediation for the Socio-Educational Inclusion of Roma Families

M.ª Dolores López-Martínez — 2026-04-08

This article presents the systematization of an artistic mediation project carried out in the neighbourhood of San José Obrero (Alcantarilla, Murcia), a context marked by socio‑educational vulnerability and a significant presence of Roma families. The study examines how a collective creative process, specifically designed for a group of Roma mothers and their children, can foster participation, cultural recognition and community strengthening. The research adopts a qualitative case‑study approach, drawing on participant observation, visual production analysis and ethnographic field notes. Findings indicate that the artistic mediation process enabled the emergence of identity narratives, emotional expression and meaningful relational bonds among participants, while also promoting symbolic appropriation of the community space. At the same time, the study identifies cultural dynamics that shaped the forms and rhythms of engagement within the group. The article discusses the educational and social implications of artistic mediation in contexts of exclusion and offers insights for designing culturally responsive interventions in similar settings.

A colour splash. Watercolor as a tool for the rehabilitation of visuospatial cognitive functions after a - brain damage acquired

Norberto González-Jiménez — 2026-04-08

This work presents evidence of the main contributions of using watercolor painting as a therapeutic tool for the neurological rehabilitation of visuospatial attention and cognitive functions following acquired brain damage. It addresses aspects related to deficits in the agnosic process of recognizing form and space in representation, offering a brief comparative overview of the results obtained from practical neurological rehabilitation exercises using watercolor. The analysis examines the results in the process of recognizing form and space in artistic representation, taking into account the main deficits and alterations in the affected areas that are evident. In this study, the therapeutic function of watercolor constitutes a proposed rehabilitation approach to help all individuals, with or without brain damage, feel more secure and confident in their abilities.

Accidental art: visual analysis of landscape panoramas created for the Spanish Civil War

Santiago Elía-García — 2026-04-08

Following the outbreak of the Spanish Civil War, the territory was divided into sectors controlled by the opposing factions. Within a few days, frontlines were drawn across the country, establishing new borders, some of which remained stable for extended periods. This situation led, for military reasons, to the landscape becoming an object of study from both sides. The present article examines scenes derived from such observation, represented through a rigorous methodology aimed at recording the visual information of the combat territory as support for strategic decision-making. This process generated a set of graphic documents of remarkable aesthetic value. The conclusions drawn from a close examination of these materials support the thesis that technical rigor and discipline in the creative process unintentionally lead to results that are both compelling and evocative. These records may be considered manifestations of accidental art. Furthermore, panoramic views obtained through different graphic tools are compared, assessing the scope of each. The synthetic role of hand drawing is contrasted with the comprehensive function of photography—two very different techniques that complemented each other to provide a more complete visual representation of the same territory.

Inclusive Arts Education, and Artificial Intelligence: a comparative discursive analysis between Ana Mae Barbosa and her digital avatar

Carlos Escaño — 2026-04-08

This article derives from the research project Inclusive Online Arts Education and presents a comparative analysis of two interviews conducted respectively with the renowned arts educator Ana Mae Barbosa and her digital avatar IA·MAE, with the aim of exploring convergences and differences in their discourses related to inclusive arts education. The avatar was implemented using LLMeducakit, an in-house, open-source platform specifically developed for educational applications of generative artificial intelligence. The comparative study employs open and axial coding carried out with QualCoder, frequency analysis at code intersections, co-occurrence analysis, and discursive reading. The results highlight a thematic affinity between both discourses, both in their critical frameworks and in technocultural aspects; however, a performative divergence is observed: the avatar tends to concentrate on a programmatic and theoretical register, whereas Barbosa’s real voice is situated within an empirical framework of decisions, examples, and personalization, offering a higher degree of pragmatism and transferability.

From Hic Mulier to the virago queer. Female masculinity in contemporary spanish art

Mireia Ferrer-Álvarez — 2026-04-08

This article aims to examine the nature that has defined female masculinity, as well as the various morphologies it has manifested in contemporary Spanish art. The analysis emphasizes the performative, unstable, and mutable character of identity construction, in dialogue with the postmodern deconstructivist theories developed by Butler, Halberstam, Kosofsky Sedgwick, Preciado, Haraway, and Braidotti, among others. Within this framework, different artistic proposals are examined that move between the conception of gender inscribed in habit, its manifestation in the realm of actions, and its projection into the prosthetic universe. These strategies not only dismantle normative categories of gender but also simultaneously render visible its own dimensions as practices of substitution. In all of them, recurring resources such as hyperbole, parody, and simulacra are recognized tools that articulate dissident methodologies against the monolithic, rationalist, heteropatriarchal ontological construct. We refer to works that move from the plastic to the corporeal, contributing to the visibility and illustration of realities, while simultaneously shaping and weaving new presents.