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Although Ecuador proves to be a country of great biodiversity which is brimming with natural wonders, this reality has not enriched the lives of Ecuadorians yet to the desired extent. The current era of globalization, hostile to the survival of traditions and meaningful connections, does not contribute positively as well. In this context, we set out to contribute to the strengthening of the Human-Nature bond through the creation of an emotional and hedonistic aesthetic experience in a contemporary visual art installation. To this end, after experimenting with banana leaves as the base material (exploring its texture, color, scent, and the various mutations obtained through technical manipulation, enhancing the enjoyment of change) a proposal is constructed for interaction with the viewer. This aims to induce their curiosity about the translucent nature of the leaves and the countless possible analogies, leading to the recognition of the present nature, the joy in the arrangement's structure, and the fascination with the expressive capacity of the material under artistically constructed lighting and ambiance conditions. All of this is directed towards an aesthetic experience that involves feeling a part of nature, another element of the installation, not only through sensory interaction but also through the final reflections which have been enhanced for the participant to become a part of the work itself.

Being a Drag Queen does not just mean dressing up and exaggerating femininity: it is the representation of women from another original identity. In Cuenca (Ecuador) this community is still not that strong, because even LGBTQ+ members like them do not know of its existence. Hence, we proposed to contribute to the strengthening of the social identity of Drag culture in Cuenca through an anthropologically based contemporary visual artistic proposal. Thus, after an immersion of the artist in the social collective - completely similar to the most classic ethnographic approaches - it was possible to provide a proposal that helps the identity representation of the Drag community and those who represent it, with the development of a process in three phases: the first of them shows stereotypical makeup of what is thought of as a Drag Queen; the second, the male face base of the representation; and the third, the human traits common to all. In this way, an aesthetic experience is fostered through experiential simulation and translation of characters as a symbol and game, for the recognition and integration of Drag into a notion of Cuenca culture in construction and updating.

The aim of this research is to analyze how Artificial Intelligence was used in music artistic creation between the years 2019 and 2022. For this purpose, three key aspects were addressed: (i) describing the different uses of Artificial Intelligence in the musical domain, (ii) examining the advantages and disad-vantages of its application, and (iii) comparing three specific cases of Artificial Intelligence implementation in music (Massive Attack, DeepBeat, These Lyrics Do Not Exist). A qualitative methodology was employed, involving an exhaus-tive review of scientific literature and a detailed analysis of primary sources related to the mentioned cases. Through this process, it was identified that Artificial Intelligence has been increasingly used in various musical aspects, encompassing composition, musical instruction, and recommendation, with a significant impact on the commercial sphere. Additionally, the use of Artificial Intelligence in music has demonstrated diverse advantages and disadvantages in areas such as convenience, creativity, autonomy, intellectual property, investment, technological development, flexibility, and musical writing. Furthermore, the detailed comparison of the three cases studied allowed for the identification of the scope and concrete applications of Deep Learning in the musical domain, showcasing its wide adoption and massive utilization in this field. An impor-tant aspect arising from this research is its contribution to the discussion on new scenarios and the development of policies and regulations in the realm of artistic creation involving Artificial Intelligence, O objetivo desta pesquisa foi analisar como a Inteligência Artificial foi utilizada na criação artística musical entre os anos de 2019 e 2022. Para isso, foram realizadas três tarefas-chave: (i) descrever as diferentes utilizações da Inteli-gência Artificial no campo musical, (ii) examinar as vantagens e desvantagens de sua aplicação e (iii) comparar três casos específicos de implementação da Inteligência Artificial na música (Massive Attack, DeepBeat, These Lyrics Do Not Exist). Foi empregada uma metodologia qualitativa que envolveu uma revisão abrangente da literatura científica e a análise detalhada de fontes primárias relacionadas aos casos mencionados. Por meio desse processo, foi possível identificar que a Inteligência Artificial tem sido cada vez mais utilizada em diferentes aspectos da música, incluindo composição, ensino e recomendação musical, tendo um impacto significativo no âmbito comer-cial. Da mesma forma, o uso da Inteligência Artificial na música demonstrou diversas vantagens e desvantagens em áreas como conveniência, criatividade, autonomia, propriedade intelectual, investimento, desenvolvimento tecnoló-gico, flexibilidade e escrita musical. Além disso, a comparação detalhada dos três casos estudados permitiu evidenciar o alcance e as aplicações concretas da Aprendizagem Profunda (Deep Learning) no campo musical, mostrando sua ampla adoção e uso massivo nesta área. Um aspecto relevante que emerge desta pesquisa é a sua contribuição para a discussão sobre novos cenários e para o desenvolvimento de políticas e regulamentações no campo da criação artística com a participação da Inteligência Artificial, El objetivo del artículo es analizar cómo se utilizó la Inteligencia Artificial en la creación artística musical entre los años 2019 y 2022. Para ello, se llevan a cabo tres tareas: (i) descripción de los diferentes usos de la Inteligencia Artificial en el ámbito musical, (ii) examinación de las ventajas y desventajas de su aplicación, y (iii) comparación de tres casos específicos de implementación de la Inteligencia Artificial en la música (Massive Attack, DeepBeat, These Lyrics Do Not Exist). Se empleó una metodología cualitativa que involucró la revisión de la literatura académica y el análisis detallado de fuentes pri-marias relacionadas con los casos mencionados. A través de este proceso, se pudo identificar que la Inteligencia Artificial se ha utilizado cada vez más en diferentes aspectos musicales, abarcando la composición, la enseñanza y la recomendación musical, y ha tenido un impacto significativo en el ámbi-to comercial. Igualmente, el uso de la Inteligencia Artificial en la música ha demostrado diversas ventajas y desventajas en áreas como la conveniencia, la creatividad, la autonomía, la propiedad intelectual, la inversión, el desarro-llo tecnológico, la flexibilidad y la escritura musical. Asimismo, la compara-ción detallada de los tres casos estudiados permitió evidenciar el alcance y las aplicaciones concretas del Aprendizaje Profundo (Deep Learning) en el ámbito musical, mostrando su amplia adopción y uso masivo en esta área. Un aspecto relevante que se desprende de esta investigación es su contri-bución a la discusión sobre nuevos escenarios y al desarrollo de políticas y regulaciones en el ámbito de la creación artística con la participación de la Inteligencia Artificial.

En los últimos años, con el auge exponencial del uso de internet y las redes sociales, hemos aprendido rápidamente a manejar nuestros dispositivos digitales y, con ello, a entender las posibilidades que nos brindan. Además, poco a poco nos hemos ido acostumbrando a discernir nombres de usuarios falsos, identificando posibles phishing, textos spam y otros tipos de fraudes similares. Sin embargo, con las imágenes que circulan en el espacio virtual no sucede lo mismo. A día de hoy es extremadamente fácil manipular la imagen de una persona mediante filtros y aplicaciones que alteren sus rasgos. Con suma sencillez asumimos que un rostro desconocido puede ser verdadero. Actualmente, cuando entramos en la red nos sumergimos en un maremágnum invisible de bots y algoritmos de aprendizaje inteligentes capaces, entre otras cosas, de generar imágenes sintéticas de personas que no existen; imágenes de personas que, por otra parte, resultan ser cada vez más perfectas y verosímiles, lo que hace que el fake sea difícil de detectar. Nuestro objetivo es reflexionar, desde una perspectiva creativa, sobre la sencillez con la que se pueden crear identidades falsas a través de la inteligencia artificial (IA). Con este fin, discutiremos acerca de varios artistas que emplean estas herramientas como recurso artístico y sobre proyectos que, desde un posicionamiento crítico, abordan esta problemática., In recent years, with the exponential rise in the use of the internet and social media, we have quickly learned to operate our digital devices and, with it, to understand the possibilities they offer us. In addition, we have gradually become accustomed to discerning fake usernames, identifying phishing, spam texts and other similar types of fraud. However, the same is not true of images circulating in virtual space. Nowadays it is extremely easy to manipulate a person's image through filters and applications that alter their features. It is very easy to assume that an unknown face can be real. Today, when we go online, we are immersed in an invisible sea of bots and intelligent learning algorithms capable, among other things, of generating synthetic images of people who do not exist; images of people who, on the other hand, are increasingly perfect and plausible, which makes the fake difficult to detect. Our goal is to reflect, from a creative perspective, on the ease with which fake identities can be created through artificial intelligence (AI). To this end, we will discuss several artists who use these tools as an artistic resource and projects that, from a critical stance, address this problem.

This article presents the narratives of people experiencing homelessness, highlighting the daily violation of their human rights in the city of Seville (Spain). In a process characterized by a search for the meaning of homelessness and the role of Social Work in human rights, their experiences are part of a knowledge production that reclaims the dignity to these individuals using their words and bodies. Methodologically, this goal was achieved by Collective Theatre Creation, combining artistic research with Social Work, theatre pedagogy and aesthetic mediation. This methodology enabled a group of individuals experiencing homelessness to write and perform a play entitled “The truth that no one wants to see” as a result of a research process applying aesthetic mediation in Social Work. Simultaneously, it leads us to the potentiality of artistic practices in the resizing of group practice in Social Work., Este artículo reúne algunos relatos de personas sin hogar que dan cuenta de la exclusión de derechos que padecen cotidianamente en la ciudad de Sevilla (España). Tomando el derecho a la libertad de expresión, las experiencias de estas personas sirven a una producción de conocimientos que reivindican la dignidad negada a través de los centros de interés expresados con las palabras y los cuerpos. En el ámbito metodológico esto fue posible conjugando la investigación artística y el Trabajo Social, la pedagogía teatral y la mediación estética. En un proceso caracterizado por la búsqueda de sentido al por qué del sinhogarismo, esta metodología permitió la elaboración de una dramaturgia escrita y representada por un grupo de personas sin hogar. Esta dramaturgia se titula “La verdad que nadie quiere ver” y tiene como argumento el anhelo por tener una vida digna. A modo de resultado, se recogen algunos de los textos e imágenes de personas que vienen participado, desde hace más de una década, en un proyecto que aplica la mediación estética en trabajo social. Principalmente, se resalta el cuestionamiento del Trabajo Social y los Derechos Humanos dentro de un modelo hegemónico de intervención social contrario a los valores democráticos y de emancipación. Al mismo tiempo, este análisis colectivo nos conduce a la potencialidad de nuevos recursos con los que re-dimensionar conflictos sociales que nos afectan como sociedad.

Referencias bibliográficas: • Arte, Salud y Cuidados (2022), Dossier Art, Health and Care, Madrid: Complutense University of Madrid and Madrid Salud, https://hdl.handle. net/20.500.14352/4332. Accessed 1 September 2023. • Ávila, Noemí (2020), ‘Arte, Salud y Cuidados: Una apuesta por la educación artística desde Madrid Salud’, ESAMEC: Education Journal: Health, Environment and Citizenship, 1, pp. 29–37. • Ávila, Noemí, Orellana, Ana, García, Marta, Antúnez, Noelia and Claver, Dolores (2014), ‘Arte, salud y prevención: Primeras colaboraciones’, Gaceta Sanitaria, 28:6, pp. 501–04. • Ávila, Noemí, Claver, Dolores, Larraín, Adelaida, Azcona, Claudia, Segura, Javier and Martínez, Mercedes (2019), ‘Art, health promotion and community health: Constructing the “Madrid Salud” model’, Journal Applied Arts and Health, 10:2, pp. 203–17. • Boydell, Katherine, Gladstone, Brenda, Volpe, Tiziana, Allemang, Brooke and Stasiulis, Elaine (2012), ‘The production and dissemination of knowledge: A scoping review of arts-based health research’, Forum: Qualitative Social Research Sozialfdorschung, 13:1, pp. 1–30. • Castillejo, Mar (2019), ‘Replanteando el Bulevar: Un jardín vertical como intervención artística y comunitaria’, Educación artística: revista de investigación, 10, pp. 82–94. • Castillejo, Mar (2022), ‘Experiencias en Puente de Vallecas, Madrid: Redes Comunitarias: Prácticas artísticas colaborativas, movimientos sociales y salud: Experiencias en Puente de Vallecas’, Ph.D. thesis, Madrid: Complutense University of Madrid, https://hdl.handle. net/20.500.14352/4110. Accessed 1 September 2023. • Castillejo, Mar, Fernández-Cedena, Jorge, Siles, Silvia, Claver, Dolores and Ávila, Noemí (2018), ‘Batas Nómadas en Madrid Salud: El arte y los artistas en equipos profesionales de salud comunitaria’, Gaceta Sanitaria, 32:5, pp. 466–72. • Larraín, Adelaida, Azcona, Claudia, Ávila, Noemí and Claver, Dolores (2018), ‘Arte como recurso de salud y bienestar: Una experiencia con mujeres a partir, Madrid Salud, a public body of Madrid City Council responsible for prevention, promotion and community healthcare, initiated an early career researcher (ECR) in arts and health programme in 2017. This ongoing programme, in collaboration with Complutense University of Madrid, funded fellowships for Ph.D. students, supporting their training and research in the application of artistic methodologies within Madrid Salud’s teams and centres. This article outlines the programme’s implementation, emphasizing the significance of intersectoral actions for its success. Furthermore, it describes the experiences of ECRs within Madrid Salud, exploring how the arts contribute to contexts of prevention and health promotion., Depto. de Didáctica de las Lenguas, Artes y Educación Física, Fac. de Educación, TRUE, pub

This research project focuses on carrying out an exhaustive analysis of the musical production of a song in the pop rock genre in order to apply it in an original production. Throughout this research, a thorough examination of each phase of the production process is carried out, from the initial conception of the song, that is, its composition, to achieving its materialization with competitive results in the music industry. The characteristic elements of pop rock as a musical genre are explored in detail, addressing aspects such as its distinctive instrumentation, rhythmic patterns and scales used. In addition, it delves into the technical analysis for decision making during the recording, editing, mixing and mastering phase, highlighting the crucial role of the producer in the creation of the final product. The purpose of this study is to provide a comprehensive view of the technical, stylistic and creative aspects involved in the musical production of a pop rock song, considering both a home studio environment and a professional studio. In addition, it seeks to offer a detailed vision of how these elements combine to shape a coherent and attractive musical work for a target audience. The results obtained from this study conclude that both the musical and technical analysis of the genre in question, the appropriate use of tools and techniques from both a home studio and a professional studio, together with adequate planning and efficient management of resources, allow us to obtain a competitive and quality musical product.

Disability can be life condition that limits the performance of routine activities; much more, if society does not collaborate and facilitate the integration of those most affected. Faced with this reality we propose to contribute to the strengthening of human solidarity for greater social integration of people with disabilities, through a strongly sensitizing artistic proposal. This, In(dreams) is built from visual productions of disabled people from the San José de Calazans Institute in the city of Cuenca, which inspire narratives, characters and colors in an authorial creation in the form of a mural, based on experimentation digital preview. Which these techniques, thoughts, sensations, emotions were reinterpreted, even the world of the subconscious that gives the production its character of interpretive dream appropriation where aspirations and dreams become the same substance, worked symbolically from an external but fraternal vision. The aesthetic experience is promoted through empathic provocation in the viewer and raising their awareness for increasingly supportive social action

This thesis work is orchestrated from practical and theoretical research on various trends in the performing arts, where procedures are proposed to generate an adaptation and hybridization that dialogues between languages starting from the written, from the object (newspaper), as well as the scenic and audiovisual language, linked to the context of the time of a geographically social region, in the work DecrouXScenic. On the other hand, the project maintains a constant transformation adapting to the social context in which it is framed, and is in turn directed to an audience through experimentation and use of social digital platforms.

The Hip-Hop movement has evolved over the decades in ways that are extremely diverse, encompassing a wide variety of elements such as music, dance, graffiti and fashion. On multiple occasions it has been associated with negative stereotypes that established an erroneous and very limited understanding of what it really implies; since not all people have access to complete information about Hip-Hop. Faced with this problem, it was proposed to capture Hip-Hop Culture in a mural based on its four foundations: breakdance, graffiti, rap and turntablism. In other words, the aim was to disseminate this art through a contemporary visual proposal in order to establish an integrative sociocultural understanding. To this end, a caricature-style mural was created with outdoor painting that consisted of the representation of female and male characters, with representative elements of various urban tribes that converge in Hip-Hop. These elements accentuated the expressiveness of the characters to leave a visual manifesto of what hip-hop is and how it is shaped as an artistic-cultural movement. All this to contribute to the assimilation and positive impact of culture. This aesthetic experience led to the recognition and iconographic identification of selected elements that allude to Hip-Hop, with emphasis on the female artist, in the face of a tradition in which she is frequently omitted; all of this, through beauty, dialogue with the appropriation of community spaces.

Contemporary art is driving transformations through the production and artistic dissemination in increasingly digitized markets, with markedly global languages, in need of iconographic enrichments from national identities as a legitimate form of cultural survival. Therefore, it has been proposed to enrich the practice of NFTs (Token No Fungible) in Spanish, which translates to "Non-Fungible Tokens" in English in an interpretative, symbolic, and cultural way, by incorporating Ecuadorian iconographies. This aims to increase Ecuador's participation in the dynamics of the current visual culture. Through the use of new technologies in artistic production, such as artificial intelligence and digital design tools, dynamism is brought to the experimentation, production, and visual construction of this digital work. Thus, "Postal NFT: Ecuador" creates four series of NFTs dedicated, respectively, to the Coast, the Sierra, the Amazon, and the Galápagos, each composed of 16 illustrations of representative flora and fauna. This proposal revives the already lost practice of national postage stamps and suggests the novel possibility of digital philatelic collecting. The aesthetic experience leads to enjoying the microcosm of a unique biodiversity, serving as a window for personal identification with culture and the development of an essential admiration for the indigenous. This is facilitated by a treatment that highlights the beautiful, the expressive, and the symbolic. Simultaneously, the international digital art market is enriched by a proposal that asserts the right of the national to its participation and enrichment of artistic discourses in the global Visual Culture of our time

The problems that afflict the world today cause a variety of individual/society imbalances, with emotional manifestations that are sometimes critical. Faced with this problem, the work Fragments proposes to contribute to raising awareness about the possibility of facing and healing from emotional problems, from the understanding of resilience and change, with a view to a life with well-being. To this end, a contemporary installation visual proposal is used to facilitate the viewer's transit through three successive spaces, which symbolically represent the stages of fall, struggle and rebirth, typical of any confrontation with situations of anguish or trauma. The sensation of falling develops the ideaof spiritual and emotional fragmentation; the fight is depicted in a space that visually illustrates confusion and anger; and rebirth reflects the notion of improvement, triumph and happiness. The above, conditioned by the combined use of photography, sculpture and sound. The aesthetic experience is deeply emotional and fosters a moment of empathy and human solidarity.

The present research is composed of two fundamental aspects: the musical analysis of the work Cristales for violin and chamber orchestra by the Ecuadorian composer Jorge Oviedo Jaramillo; and its corresponding reduction to the piano of the orchestral score that accompanies the soloist violín. In the first one, a musical analysis will be made in order to understand the essence of the composer, as well as the different musical aspects that make up the work. Consequently, the second theme feeds back on the previous one by means of the elaboration of a piano reduction that preserves the characteristics of the original accompaniment. In this way, the present work aims to offer the academic public greater options for the interpretation of Oviedo's work.

Cultural and Artistic Education, as it happens in Ecuadorian schools, does not sufficiently take advantage of the child's capacity as bearer and generator of a rich and certainly transcendent cultural and symbolic universe. Faced with this situation, Pensamiento Inefable produces a symbolic visual work, as a synchronic cut of the cuencan children's imaginary of our time, through a contemporary artistic proposal based on the transformation of original school creations. The installation generates a symbol of the infantile imaginary by means of rigid and solid structures, wrapped in layers of collage (infantile drawings) that represent the imaginary of the child, with the diverse inclinations that can go from the six to the eight years of age. A harmonious and friendly atmosphere is generated, with balloons that represent diverse worlds, overflowing with imagination, all illuminated with a dim light that favors the observation of different paths, in the midst of an apparent creative chaos. The artist is a co-author in this collective production, where he has had to develop his skills as a mediator, as well as a didactic experience, a reference for teachers in the area. If in the child a stimulating playful space is fostered, in the adult spectator an aesthetic experience of pleasant nostalgia is promoted, which strengthens his or her confidence in the childlike potential for the artistic projection of inner worlds representative of our historical moment.

The project seeks to generate visual metaphors through the artistic installation, with objects that function as devices and recreate an experiential story about child abuse, through anonymous data collection. The representation is based on concepts of visual rhetoric and will consist of elements that graph the theme according to the classification of violence in children and adolescents presented during the WHO World Health Report, PAHO in 2022. Each formal element of the installation will represent an emotional state that the victim went through and will be located for its correct functioning in the aesthetic experience. For this reason, time will be allocated to generate anonymous interviews with people previously related to the problem seeking to expose the story told and generate synesthesia in the viewer. To achieve this, an auditory background will be created, allowing the elements present to establish contrast between victim and aggressor, seeking to capture the different faces associated with this reality, the hypocrisy with which the issue and to the consequences it entails. When analyzing our current society, regarding violence and having knowledge of the potential of the image in the behavior of individuals regarding social relations and use of power, could it be said that art works as a means to contribute to the dissemination and solution of a social problem such as child violence? And if so, how can images be created through an art installation based on specific cases of violence in children?

The research demonstrated the creation of the character that emerged from the laboratory process of the subject “Investigation of the Creative Process focused on staging”, which lasted around two years and resulted in the construction of the work “One in Parts”. The character is seen from the fragility of being, not finding his identity or belonging in certain places or social situations. The objective was to create characters that emerge from autofiction, applying emotional tactile synesthesia and emotional memory as creation tools; From this approach, the creation of several characters with different emotions was approached, which are part of a single person who has several personalities: Sara. Methodologically, we worked from tactile synesthesia, as a way to reach sensory memory, a proposal from one's own experience to bring it to the stage. Other theories were given circumstances, the magical yes, autofiction and a process of scenic creation. It was concluded that it is necessary to emphasize the sensory dimension of the theatrical act, to achieve the construction of new paradigms that achieve spontaneous behaviors in the spectators.

Ecuador is a plurinational and intercultural country, possessing a wide and rich cultural and iconographic baggage, linked to mythology and ancestral traditions that enrich the symbolic imaginary of the country. This cultural and identity reality is notoriously affected by the current consolidation of global culture, which increasingly distances the common citizen from his original ties. In this context, we proposed to contribute to the cultural validity of Ecuadorian ancestral deities in the current symbolic imaginary, through a contemporary visual sculptural reinterpretation. The series, composed of five pieces made of plasticera (a material that guarantees technical updating), was generated after the iconographic and symbolic collection of pre-Columbian sculptures and oral and written narrations of four Ecuadorian cultures (Cañari, Manteña, Shuar and Kichwa) that have women as main figures. Thus, their primordial role within the communities is highlighted. The feminine is highlighted while stimulating a new canon based on a process of visual stylization. The aesthetic experience promotes an awakening to the reality of the visual and symbolic richness of the country, as well as an iconographic and stylistic renewal through a work that is more creative than reproductive, deeply hedonistic and beautiful, showing culture as a continuous and rich process, as obliged to adaptability as to historical resistance.

In Cuenca (Ecuador), trade practices -even formal- take place amidst diverse difficulties, very evident in the local markets, as a social reality very distant from the imaginary of neatness, beauty and splendor that the city has built over time. In this context, the work Mercados proposes to represent, from Ecuadorian experiences investigated in situ, the neglect of the producer present in local trade practices in order to raise public awareness. Thus, from various testimonies, in which stands out that of a young shopkeeper, a single mother, a multisensory aesthetic experience is generated, the result of the interrelation between the visual representation (in a slightly expressionist form) of the protagonist, with a baby in her arms, attending to a customer; the reproduction of the constant and deafening environmental noise of the market; and the installation complement of fruits with textual messages that put the spectator for an instant in the place of the protagonist, in search of empathy and solidarity, so necessary today for the transformation and improvement of our peoples.

Research-creation constitutes a new field within academic artistic praxis, but it accumulates sufficient theoretical and methodological progress for the purpose of its introduction into university study plans. Among the existing theoretical information, the agreement of authors in favor of the potential usefulness of the method of genetic criticism (from philology) for a processual approach within the visual arts, encourages the design of a didactic planning built in the format of practical class and with the constructivist methodology of discovery learning. The activity is integrated into an organization of experimental content, under the protection of disobedient pedagogies. Subjected to a double experimental edition, through the conjunctural adaptation of typical phases of a Lesson Study, it allows us to conclude with a referential model of immediate usefulness in the methodological disciplines taught in visual arts and related careers, suitable for the introduction of the teaching-learning of the subject, the stimulation of its practice specifically investigative in the academic field, and the understanding of art as another form of knowledge production.