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Videocreation
NARRATIVE RESEARCH An experimental search based on artistic creations
The project is an artistic investigation I tell my imaginary dreams through making creative forms."Land that rocks my journey": It is an experimental search based on artistic creations as a way of life and personal transformation. A project based on the creation of visual poetry, with the intention of tackling a work of collective experimentation as knowledge. My goal is to relate scenery and poetry. It develops from the body, space, the feeling of experimental writing. What I find in popular culture. The result is a composition of artistic hodgepodge. An experimental search and personal transformation that ends in video art. Abstract Words: Narrative Research, Popular Culture, Visual Poetry. Summary: The project is an artistic investigation, I narrate my imaginary dreams making creative forms. "The Earth that sways my journey": It is an experimental search based on artistic creations as a way of life and personal transformation. A project based on the creation of visual poetry, with the intention of approaching a work of collective experimentation as knowledge. My goal is to relate scenery and poetry. It develops from the body, space and the feeling of experimental writing. Also, what I find in popular culture. The result is a composition of artistic hodgepodge. An experimental search and personal transformation that ends in video art. Abstract words: Narrative research, popular culture, visual poetry
SOY YO - Maitane Cortés Cortés
We live in a hierarchical society full of cultural traps that points out and categorizes from the first educational bases. Something as simple as the terms "boy" or "girl" generate a confusion that is sometimes irreversible for the construction of identity. An unjust inequity from which the word "diversity" remains a false illusion of the educational program. The main need that leads to carrying out this field work is based on the social ignorance that currently exists towards the group of transsexual people. This ignorance as a result of ignorance, makes us settle erroneous premises, impregnated with acts of rejection and discrimination that leave enormous consequences in their wake. Fortunately, technological progress and health facilities are taking steps towards achieving adaptation, but the truth is that, without the awareness of inclusive education in society, any group outside of the "normally established" is a priori, a deviant person. The objective, therefore, is to explore transsexuality from an internal point of view to empathize and understand the reality of this group in a profound way, and to verify if this social rejection is truly fulfilled, which is hypothetically what has led us to carry out the research. This methodological study process is within the Process Paradigm and is purely Qualitative, since it is a case study. In its design, one of the most outstanding characteristics is flexibility and interpretation Álvarez-Gayou, JL (2003), Flores, JG, Gómez, GR, & Jiménez, EG (1999), although this time it goes further. On the one hand, it falls within a study framework called Ethnography, as defined by Giddens, A. (1995) and highlighted by Murillo, J., & Martínez, C. (2010). Well, its content presents the behavior and the particular characteristics of a certain group: «Transsexual». The Approach or Reasoning of this research can be considered Inductive, since it has its origin in the observation of the most concrete (Miriam's particular experience) to derive us to a more general framework through the interpretation of the data Wormald, BHG, & Goodwin, WBH (1993). And its Methodology is Based on the Arts since it is an investigation that is conducted through two Artistic Methods: Creative Writing (focused on narrative and story) and Plastic Arts. Therefore, from this ethnographic study framework of arts-based research, a case study based on the life experience of a transsexual woman is integrated, using various artistic methods: on the one hand, creative writing (delving into the narrative of the life story of the protagonist) and on the other, the plastic arts, deepening the expression of emotions. This is why we can realize that it is an investigation based on arts, since the aforementioned artistic methods are present as data extraction tools, offering us the relevant bases to contrast the previous premise from which we started. In addition, this article expresses the justification, a few brief notes on the rationale, objectives, and how the entire methodological process has been carried out from different visual and audiovisual formats. Well, from them you can perfectly appreciate all the development of the research carried out.
EDIBLE ART - Jesús Algovi González Villegas
Arte Comestible, happening, arte de acción / eat art, contemporary art.
CYBORG - Cisela Jiménez López
Donna Haraway in her manifesto Cyborg (1984), proposes to strip ourselves of the matrix to compose ourselves from ourselves. It is a vision of the world in which neutrality and individuality would give a twist to the current panorama (Haraway, 1984). A very transgressive vision since it goes against the conventions imposed by the language established in our society, which present classic dualities such as: good / bad, rich / poor, creator / created, man / woman, etc. Haraway proposes establishing a new reality using technology and information technology. Thanks to our technological advances we will be able to become Cyborgs, hybrid and recomposed entities. The fusion of the human being and computer science frees the latter from its biological ties to build a state of identity equity. The binary code with which computers are programmed is a faithful servant to this purpose, which raises a social paradox: reaching non-binary from binary, achieving individuality from duality, using the antagonistic key for an opposite result. The tool in this case is used for its own destruction. On the other hand, advertising aims to maintain dualisms, especially in terms of gender, very marked and evident especially in perfume advertisements. They carry out this purpose by projecting a direct message whose purpose is to achieve sales. Advertising does not want to confuse or distract and therefore should send a direct message. On the other hand, if we talk about cinema we can see that it does not behave in the same way. It has its own resources when it comes to transmitting a language. We must not forget that it is a type of art and that as such the impulses that lead us to create cinematographic works are born from our own motivation. To a certain extent, it could be said that one and the other are contrary, but advertising appropriates the resources of the cinema for its benefit. This proposal aims to show neutrality from partiality, individuality from duality, from the binary, using the established language, the one we know, to transmit an opposite message. For this, an audiovisual production has been carried out using the references and codes mentioned, the Cyborg concept (applied to the genre), a hybrid of human and machine, in addition to the cinematographic references, its narrative capacity and its language taken to advertising .
THE EXPANDED ART - Ramon Blanco-Barrera
Today we could understand digital artistic practices as all those produced before the iconosphere and the cultural prism in which we currently live. Not only photography or video creation take part in this game, but many more. This research studies these interconnections, showing the expansion of the artistic spectrum as a transforming and changing entity in society as a catalyst from the collective. Specifically, three internationally developed artistic research proposals are exposed. In conclusion, in addition to all this, we extol these experiences as radical and alternative educational methodologies.
SHARED BEAUTY - Magdalena Novotná
Acting on the margins, social sculpture, inclusive education, art production, teacher education, gallery and museum education
BEYOND MY BAG - Lourdes Cañizares Ortega
Ostomy, stoma, ostomized people, ignorance, audiovisual documentary and Association of Ostomized of Jaén (AOJA).
PLAN. Art and School Network
PLANEA is a network of educational centers, agents and cultural institutions that are committed to using artistic practices in public schools in a transversal way, located in the territories and with a vocation for generalization and permanence. The network is given a period of five courses to prototype, evaluate and collect learning about the ways and means of producing significant changes in educational centers, in education ministries and in their closest ecosystem, through artistic practices. It is promoted by the Daniel and Nina Carasso Foundation and is articulated through mediation in three territories: Invisibles Pedagogies (Community of Madrid), PERMEA (Valencian Community) and ZEMOS98 (Andalusia). The governance and management formulas of the network are part of this five-year prototyping. The network is committed to generating a fabric at the intersection of art / education in one of the main educational spaces: the public school. The network recognizes the multiplicity of initiatives that already exist, in contexts of formal and non-formal education, so it proposes to function with a vision of an ecosystem, which cares, which is (re) generator of tissue, from listening and mediation as principles, avoiding overlap or substitution.
CROSSED SPACES: projection as a tool for artistic connection between the creations of students and teachers in time of confinement
The project Espacios Cruzados: projection as a tool for artistic connection between the creations of the students and the teacher in time of confinement is the result of an educational research based on the visual arts that tries to relocate the learning process from the flow of images between the student body / teacher to build a visual discourse that connects and metaphorizes what has been learned and what has been experienced in times of coronavirus. The audiovisual narrative that we present is built on the basis of an artistic education project developed during the period of confinement. Using artistic references, the students were proposed to create images of their own bodies and their homes that allowed them to create a new image of their identity as a student outside the classroom, related to their being and their habitat. The results were transferred to the intimate space of the teacher through the use of projection, thus creating a cyclical visual discourse, where the teaching-learning is bidirectional, the teacher constructs, creates, learns and interprets based on the visual learning of the student. Thus the new non-formal educational spaces that exist beyond the classroom are glimpsed. The home and the body become the places where the active agents of education turn their experiences and transform them into spaces for learning and research. The projected image was the research methodological instrument used as the script to create this video essay that narrates a shared routine between the student and the teacher from the perspective of the body and the home. In it, the limits between context and projection are diluted, whose main interest is the inclusion of both polysemic spaces: the place of the projection and the projected image. The formal and symbolic coexistence of disjointed a priori images gives rise to unforeseen atmospheres where space and body are fused into a single plane.
TÁLAMO - Andy Retana Bustamante
"Tálamo" is an experimental video art resulting from an artistic investigation called "Colectivo En Fuga," made up of artists of different ages, learning experiences and artistic disciplines such as dance, visual arts and music. Additionally, different specialists in the areas of audiovisual production, animation, sound design, dance, make-up, scenography, among others, participate. The project is developed thanks to the Interdisciplinary Initiatives Fund of the Center for Research, Teaching and Artistic Extension (CIDEA) of the National University of Costa Rica. Through this experimental video art we developed five conceptual axes that allowed us to problematize around the body: construction of identities, affects and connections, posthumanism, postgenerism, utopias and dystopias, nurtured from different theoretical perspectives. The narrative of Tálamo will take the spectator to travel through several worlds connected by a corridor, in each of these, he will have different experiences through his body. The freedom to choose the appearance or multiple appearances, the experience of emotions and sensations, the search for connections with one's own body and with other bodies through affectionate relationships will be explored, as well as the coexistence of multiple identities, the search for utopia, of absolute freedom and pleasure. However, it also reflects on ephemeral links, superficiality at the image level of bodies and censorship at a systemic level. Regarding the way of working, from the academic point of view the intention was to dislodge the hierarchies and roles of the institution - academic, student, administrative - as far as possible; Through responsibility, listening, the exercise of assertive communication and proactivity, it was sought to favor a horizontal work dynamic. The artistic practice was indivisible from the educational process: it was a learning by doing, a constant reflection on collaborative learning. The methodology was based on research based on the arts, based on the paradigm of aesthetic intersubjectivity, which refers to the quality of art as knowledge, as it is built with others. The project process was approached in superimposed, porous and flexible stages, maintaining as a constant the incorporation of adjustments based on the regular emergent situations in the development of any project and exceptional ones that the Covid-19 implied: project formulation, integration of the group , study of inputs and references, stage of exploration and experimentation exercises, analysis of exercises, planning of the artistic proposal, consolidation of the work team (incorporation of technicians and specialists), development of video art and socialization of the project.
RECONCILING THE OTHER: Traveling objects and collaborative teaching
A collaborative art education project accomplished in Japan and the Czech Republic focused on the enculturation processes experienced by two teachers and their students, how immersion in visual arts can contribute to cultural understanding, mutual cultural enrichment and the reconciliation of two culturally different pedagogical approaches of art . This project also addressed this reconciliation with the unknowable 'Other' (of a different place and culture) through the creation of artworks, 'traveling objects' and collaborative teaching. Outcomes of this project include similarities of objects from both countries and two divergent pedagogical approaches and suggest that participants strived to reconcile the Other, thus creating spatial and relational intermediate space dealing with those objects and communicating together.
ICHIJO PROJECT - Moe Iezaki, Shiho Tanaka
Studio-based art practice is a central activity in art education. It encourages exploration of an artist's own expressive forms, as well as enabling mutual learning among participants, through observing their artistic processes. However, in a global pandemic situation, studios in educational institutions have often been closed to students and teachers, due to social distancing regulations. Thus, any practical learning has had to take place in the individuals' everyday living space. Direct bodies-to-mediums and man-to-man interactions usually experienced through art practices in open studio spaces have been replaced by indirect online interactions in personal closed spaces. The authors of this presentation aim to explore the intermediate space between direct and indirect artistic interaction, using bodies and objects as a possible method of art education that reflects both the imposed living situation as well as utilizing the Japanese daily space, as defined by a tatami mat. Japanese traditional tatami mats are woven from rice straw and laid on the floors. They became popular with the spread of the tea ceremony. These mats are still commonly found in many Japanese homes, usually as discrete room modules. For example, one tatami mat is called ichi jō in Japanese, and the room for the ancient tea ceremony consists of four and a half tatami mats, called yo jō han, as standard. The ichi jō project is set on one tatami mat, being the smallest unit in a participant's daily room. This project is examined as a case study for an experimental art educational practice. The two participants are both artists, researchers and educators in visual art and contemporary dance. To describe the method of the practice, the space was shared by the two artists in separate visits. First, the visual artist created objects or space compositions, using everyday materials, on the ichi jō in the room. Another day, the second artist visited the tatami mat to provide a physical expression in response to the objects or space composition previously created by the former artist. Next, the visual artist provided three-dimensional expression again in the same space, and then the dancer interacted with the new objects using her body. The project consisted of ten interactions. Video recordings of all the production processes and descriptive records of participant's; reflections at each stage of production were collected as research data, also available as material for editing the final video creation. The characteristics of the space, being different from the specialized studios, evoked personal memories. Materials found in everyday spaces were converted into art objects, which caused feelings of strangeness because of their deviation from daily use. Any discrepancies between the artists' intentions emerged in the interaction process during the final production stage. These were clarified at the video editing stage, being regarded as meta-level reflection and re-creation using the collected data. It was found that both empathy and leap in the direction of production occurred in these intermediate spaces, since the two states of directness (sharing objects) and indirectness (having no face-to-face communication) were required.
PERME. Experimental Program of Mediation and Education through Art
In recent years, we have witnessed a progressive shift in the educational practices of museums and art centers in the Spanish context that is closely linked and in a certain way a promoter of more open, plural and experimental institutional models that understand citizenship as a structural agent of their activity. and not as mere recipients of predefined actions and little contact with their reality. Museum education has gone from being an activity framed in the rigid format of the guided tour to being deployed in a multitude of actions and experiences oriented by the concept and strategies of mediation, understood not only as an interface of approximation between art and the public but as an expanded field that encompasses the relationships and knowledge that cross the museum, the interactions with social groups and with the territory and the conception of the institution as a pedagogical and citizen device in itself. The education departments of museums and art centers play, under this new paradigm, an essential role in the configuration of new ways of doing, in the construction together with artists, curators, managers and other cultural agents, of new participatory and institutional institutional narratives. inclusive that move from the idea of visiting the museum to that of inhabiting it. This context, still incipient, has revealed the need for professionals capable of undertaking projects that involve agents and knowledge from diverse areas such as pedagogy, history and artistic creation, but also the social and experimental sciences. And it has also highlighted the non-existence, in the Spanish context, of specific training programs in mediation and education through art that address this from its transformed and transformative condition. The Experimental Program in Mediation and Education through Art, started in 2018 by the Consortium of Museums of the Generalitat Valenciana in collaboration with the University of Valencia, is a master's degree that experimentally addresses the knowledge involved in the creation of mediation projects artistic both in the institutional spaces of art and education and in other social contexts, from a critical and at the same time generating perspective. The situation of PERMEA in the institution that promotes and hosts it (the Consortium of Museums) allows the classroom discourses to land in the daily practice of the center, generating a flexible and permeable training-mediation-institution axis.
SUPER XOXO Melissa Lima Caminha
The video installation consists of the exhibition of objects from the work Xoxo Clown Show, premiered in January 2020 in Barcelona. The show is the result of an investigation based on the arts, whose initial argument is part of the thesis "Payasas: Histories, Bodies and Forms of Representing Comicity from a Gender Perspective", defended at the University of Barcelona in 2016. The installation It is related to the process of research and creation of the work, framed in gender studies, visual culture, cultural pedagogies and research based on the arts. At the same time, it also denounces the precariousness in which artists-educators-researchers-mothers are subjected and have to face in order to survive in a doubly poor and anti-maternal circuit such as the cultural and academic one that marginalizes women and mothers. How can we generate policies to support this hybrid and monstrous figure that is that of mother-artist-manager-producer-educator-researcher? We have to give birth in theaters, in museums, in universities! We have to give the tit and take our creatures to all the spaces! Co-responsibility! Social, artistic, cultural and intellectual commitment to parenting and mothers! The impossibility of the scenic work. The infeasibility of the presence of the performer. Unsustainable project. Non-viable. Amateur. Unprofessional. Home and maternal video. Vulgar, obscene, precarious, rejected project. The need to recycle the project, reuse it and redo it in other ways. New ways of being present in precariousness. Make yourself present and materialize through other narrative forms. The scenic xoxo. The performance xoxo. The xoxo installation. The invisible xoxo. Mental Xoxo. Xoxo aura. Phantom Xoxo. Xoxo present. Xoxo that you laughed to become invisible, showing itself fragmented, narrating itself in the corners, radiating energy, blood and cosmic light. Giving birth! Giving the light! Xoxo spirit, spiritist. Contacting the afterlife. The new materialisms, affections, ecofeminism, performance, ritual, care. Epistemological and methodological frameworks to undo oneself and be reborn in new forms and new artistic, imaginary, virtual, objectual proposals. The desire to make contact. Either way. The dependence. The desire to build bonds, to get entangled with other threads, xoxos, orgasmic screams. To exercise motherhood with attachment, in community. Desire for a life worth living. Super xoxo, super somatic! A shout of laughter to patriarchal capitalism.
FIELD NOTEBOOK
Our proposal consists of the creation of a video creation based on the a / r / tographic project Desanesthesias developed in the subject of Plastic Expression and its Didactics of the Degree in Primary Education Teaching at the University of Oviedo from the past academic year 2019/2020 until the current. From a radically a / r / tographic approach, we come to understand the subject as a work of art, as a living happening that happens at different times and places, and thus we construct it throughout a school year together with the students. For the approach of the project, we start from the metaphor of de-anesthesia, understanding the subject as a treatment for a condition: anesthesia, that is, the inability to perceive. We thus use the metaphor as a trigger for learning by developing a series of actions during the course to verify the effectiveness of the treatment with an ironic component. Starting with the 'intake' of a series of pills in the form of artistic educational actions, accompanied by several sessions of healthy habits and rehabilitation. During the process, the students generate an artist's notebook as a creation that dialogues with the performance itself. We propose this video creation as our own artistic field notebook: from the reflection on the teaching-learning process of the project based on the arts, and the creation of the leaflet that is elaborated throughout the course. Likewise, we incorporate reflections of some of the artist's notebooks made by the students during the course as a personal creation that evolves and dialogues through artistic languages with the Desanesthesias project itself, being one of the palpable symptoms of the efficacy and therapeutic action of the treatment. We present this artifact not as a project conclusion, but as a phase in the process. In it we intend to continue investigating these issues collectively from an artistic and didactic point of view, generating an audiovisual representation of the process. For this reason, we conceptually continue with the line of creation of Desanesthesias through the medicinal metaphor as a common thread.
UNTITLED
In the video, we introduce our project named Untitled. Undated. which is focused on creating and developing animated educational video clips and worksheets with themes and tasks for art education. This project has gained in importance especially during the coronavirus pandemic, when it offered and continues to offer a lot of materials for distance learning of art education.
LA HUELLA DEL PLÁSTICO, a didactic strategy on ecology based on stamping and video mapping
In Europe, single-use plastic will cease to be produced from 2040. Until then it will continue to leave a perennial mark on our planet. How to raise awareness about this issue? How can we claim an ecological and social position in the face of this problem? Education is undoubtedly the place of teaching values that encourages the development of critical thinking. It is therefore essential to teach reflection to promote a position on the profound changes that affect our society in environmental matters. This reflection can be carried out from multiple teaching approaches, however, artistic education is the only one that allows a multifaceted approach and above all sensitive to what surrounds us. This video creation presents the results of an educational research based on the arts about a teaching process carried out with students of the Degree in Social Education of the Faculty of Education Sciences of the University of Granada. In the experience, the group reflected on ecology and in particular, on the excessive use of plastic in contemporary society from an artistic approach based on stamping together with video mapping, artistic actions that allowed students to approach this controversial material from a aesthetic experience to position oneself in a vindictive way. The educational project focused mainly on the aesthetics of single-use plastic objects and the values they convey through the artistic technique of stamping. The successive action of stamping (an intrinsic characteristic of the technique and from which over-stamping results) on a photograph of one's own face allowed us to arrive at an image of visual saturation that symbolizes the current overproduction of plastic in our society and poetically materializes the damage that it causes on the planet and on our own organism. The montage brings together the stamping process of each student in a video / gif and the projection of the results on the plastics collected by the students. The result is a video mapping installation that shows the videos in a loop and that accentuates the metaphor, critically positioning the students in front of it. Consequently, the video creation that we present is the progressive sum of each intervened face, which follows one after another in an endless line mimicking and homologate the current process of excessive plastic production to which we are subjected.
ART AND SOCIETY. FROM THE LIGHTING SHOW TO THE SPEECH.
In the context of a society that is increasingly hungry for artistic discourses in the public sphere, there is often a greater tendency to democratize these artistic stories by transferring them to a multidisciplinary language that gives play to the creativity of new artists, expressing themselves through events rich and diverse both in format and in the look and the ways of doing it. Such is the case of light interventions where performative elements intervene that at the same time bring together an entire expressive and creative spectrum, nourished by dance or body expression, music, painting, sculpture, design, image, sound, new technologies and a long etc. of artistic possibilities adapted to a common show where light is the main exponent.
Artistic teaching and didactic methodologies of the English language in multilingual contexts.
Within the framework of the Innovation Project Artistic teaching methodologies in multilingual contexts: creation, culture, language and education, of the "Art and Didactics" Group (ARDID) coordinated by Paloma Palau Pellicer and Anna Marzà Ibàñez, we carry out artistic actions with more 200 students in the 2nd and 3rd year of the Bachelor's Degree in Early Childhood Education Teacher. The audiovisual exhibition Forms by Santiago Vilanova, from the Display project, integrated into the new Artistic Innovation Classroom of the Servei d'Activitats Socioculturals of the Jaume I University of Castellón, becomes a space for experimentation that encourages interaction between languages. During two weeks, in small groups, the students develop an artistic proposal based on visual and musical language, taking as a reference the artist's sound art project. We design artistic-pedagogical actions around the work of art with the Artistic Teaching Methodologies characterized by proposing direct contact with contemporary works of art. Starting from actions that involve the poetics used by contemporary artists, we stimulate participants to act as a professional artist acts, manipulating and transforming materials, associating disparate ideas, developing an artistic result. What is peculiar about these methodologies is that the content and the method share the same visual language. Generating final products that are not school exercises, but works of contemporary art that are based on the knowledge acquired and the procedures of artists, directly related to contemporary artistic creation. The origin of the project stems from the demand for specific teacher training since Valencian legislation requires teaching in English in at least one non-linguistic area in all primary schools and 76% of the schools have chosen to teach the area of artistic expression (plastic) in that language. In recent years, many of the people who were in charge of teaching this area have stopped doing it, since they do not have the necessary linguistic qualifications, and the teachers who have assumed their teaching state, in general, that they have a training insufficient in didactics of the plastic arts. Taking as a reference these data collected, we continue in contact with teachers in permanent training seminars, within the framework of the projects of the UJI Research Promotion Plan 2019, Transforming artistic education in English in the Valencian context and the R&D project Social intervention methodologies based on visual arts: cultural creation and education (2020-2023) coordinated by Ricardo Marín Viadel and Joaquín Roldán from the University of Granada.
THREE NARRATIVE EXERCISES Angel Cagigas
Narrative construction is an essential element of any teaching and creative work, as it implies the structure that underpins it. The teaching application of a model based on narrative construction through audiovisual creation involves an integral work elaborated in several phases: in the first phase an idea is specified, material is gathered, analyzed, discussed and a literary script is written. ; in a second phase this becomes the sequences of the technical script that are reflected in the filming; and in a third phase the final footage is edited, which after image and sound post-production gives rise to the final narrative. This work process involves a global training that covers disparate aspects such as information search, writing, handling cameras and microphones, image and sound editing programs, new technologies and creativity. Here are three examples of this model made at the University of Jaén, three productions created by students of the Degree in Psychology, the Master in critical analysis of gender inequalities and the Master in aesthetic research and education.
(im) PERFECT (s) Luisa Maria del Aguila
Video recording (duration 34:17) of the performance (im) PERFECTA (s) carried out in the Black Fishbowl of the Faculty of Education Sciences of the University of Malaga on May 30, 2019 together with the group of students of the subject Social Education through Art, from the reflective and emotional analysis of our relationships with the canons of beauty, behavior, performance, intellectual, psychological and others that the society that we make up tries to impose on us with a success that, as we recognize to what Throughout the process, we are embarrassed, uncomfortable, hurt and subdued too many times.
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