ALBERT

Description: ste libro es expresión de las investigaciones realizadas por seis integrantes de la Línea Contextos, Prácticas Políticas y Políticas Públicas como parte del Programa Posdoctoral en Ciencias Sociales, Niñez y Juventud. Los trabajos que componen el segundo libro colectivo de esta línea fueron producidos entre el 2014 y el 2017 y abordan diferentes dimensiones de las vidas de niñas, niños y jóvenes de América Latina desde una perspectiva situada que, siendo rigurosa, asume el compromiso intelectual y político de aportar a la transformación de las condiciones en las que producen sus existencias. Si bien cada uno de los seis capítulos corresponde a investigaciones singulares llevadas a cabo por cada uno de los posdoctores en tres países de América Latina (Argentina, Brasil y Colombia), estos se alimentaron de los intercambios colectivos sostenidos en el espacio de trabajo que compartimos en la Línea del Posdoctorado. De esta manera, el libro puede leerse como el encuentro de seis textos con unidad y lógica en sí mismos, pero también como obra única en la que reverberan los diálogos sostenidos en el espacio común de trabajo que construimos en estos años. En este sentido, este texto es resultado de un proceso que demandó casi dos años de debates y reelaboraciones y que pasó por diversos momentos y circunstancias antes de que se hiciera posible su publicación. Agradecemos entonces la paciencia y la dedicación de las autoras —el azar o los procesos de igualdad de género quisieron que todas las autoras fueran mujeres— así como los comentarios y aportes de los otros colegas que integran la línea, cuyos trabajos ya han sido publicados o se editarán pronto. Asimismo, queremos agradecer al equipo de trabajo del posdoctorado que radica en el Centro de Estudios de Niñez y Juventudes (Cenju) del Cinde y la Universidad de Manizales (Sandra, Daniela, Julián), a los coordinadores de las otras líneas del programa (Toya, Patricia, Karina, Silvinha, José Manuel, Héctor Fabio, Fernanda, Myriam), a Sara Victoria Alvarado, a María Camila Ospina por aceptar con generosidad hacer el prólogo, a las instituciones coeditoras y, especialmente, a Lucía Rangel, quien compartió la coordinación de la línea junto a Pablo Vommaro hasta fines del 2016, momento en el que se incorporó Alejandra Barcala a este espacio. Este libro es también símbolo del trabajo que llevamos a cabo con Lucía y una bienvenida para Alejandra. La apuesta por publicar los capítulos en su idioma original (castellano o portugués) también es expresión de la vocación intercultural y latinoamericanista de esta obra. Los invitamos a compartir las páginas que siguen y a recorrer las experiencias de investigación y práctica intelectual que contienen. Esperamos que esta sea una manera de integrarse, al menos por algunos momentos, a la comunidad que constituimos en el Posdoctorado desde el 2010, que se potencia día a día con la publicación de obras como esta y con los ecos y debates que pueda generar. Buena lectura. "Pablo Vommaro y Alejandra Barcala"

Description: Este libro permite, entre otras cosas, acercarse a la mayor parte de los desarrollos, las tendencias y los intereses teóricos que ocupan actualmente a los cientistas sociales en América Latina. Es un mapa capaz de mostrar mucho de lo que se está haciendo en el campo de la teoría social, y capaz también de mostrar mucho de lo que queda por hacer. Uno de los rasgos más notables de este mapa es su pluralidad. Se constata aquí que las más diversas tradiciones de pensamiento transitan por nuestro continente, y que son reelaboradas por nuevas lecturas de un modo tan vital como riguroso y consistente. Queda por saber si este pluralismo existente se irá todavía ampliando, si llegará a albergar más cabalmente tradiciones no tradicionales de pensamiento. Es decir, si podrá abrirse con más fuerza a un diálogo con puntos de vista sobre lo social, lo político y lo cultural provenientes de las epistemes no occidentales, o no completamente occidentales, que habitan el sur global.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: La presente antología contiene un amplio conjunto de textos que Fernando Martínez Heredia elaboró en función de los problemas sociales y retos que la práctica política socialista latinoamericana demandó al pensamiento con el objetivo de ir más allá de lo posible. Materiales vivos que nos incitan a pensar en tiempo de revolución para que, según dijera un humilde habanero que entregó su vida a esa empresa, los sueños de hoy se conviertan en la ley del mañana.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Resultado de la orientación de investigación y exposición de académicas y académicos que valoraron como indispensable, para abordar los temas actuales de la frontera norte de México, el tener presente la complejidad y diversidad de su conformación histórica. Así, desde la diversidad de disciplinas Antropológicas y de la historia, las y los autores abordan temas que van de las primeras ocupaciones y aprovechamientos humanos del extenso territorio norteño de la actual república mexicana, hasta el estudio de los intereses estadounidenses en la geopolítica de lo que ellos han considerado su frontera sur, pasando por el largo periodo de invasión y conquista española de todo ese inmenso territorio y aun de los movimientos y estrategias de resistencia de los pueblos y comunidades indígenas, de ayer y hoy.

Description: En Resistir al neoliberalismo. Comunidades y autonomías Pilar Calveiro no se centra en las características del neoliberalismo sino, como su nombre lo indica, en la posibilidad y la potencia de las resistencias comunitarias. Para ello retoma la discusión sobre los rasgos violentos y autoritarios del neoliberalis mo, desarrollados en textos anteriores, enfatizando ahora en la conformación de redes de poder que rebasan al aparato estatal. Ello obliga a desplazar el foco de análisis, del Estado y sus responsabilidades directas o indirectas, a la gubernamentalidad neoliberal, como una trama más densa y compleja. Se trata de observar la articulación de las redes de poder legal/ilegales y público/privadas que, en el neoliberalismo, ejecutan diversas violencias orientadas a desarrollar verdaderas políticas del miedo.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: "Hemos organizado esta antología alrededor de cinco ejes temáticos que nos permiten establecer conversaciones cruzadas entre los ensayos incluidos y formular algunas tesis que claramente los enlazan y que asumimos como propias. Podríamos haber establecido muchas más relaciones entre ellos y articular otras tesis interpretativas, pero con ello escaparíamos los confines de un ensayo introductorio. Le dejamos a los amigos y amigas lectores el culminar una tarea que siempre permanecerá inconclusa. En todo caso, encontrarán a continuación una serie de relatos críticos a nuestra oficialidad y a los intereses que esta ha salvaguardado. Damos fe que la historia reciente, en buena medida, les ha dado la razón a estos pensadores. En Puerto Rico hemos gozado de una ventaja epistemológica que nos asigna un inusual grado de responsabilidad. Las causas de nuestra crisis no solo eran anticipables —mucho más previsibles que las azarosas rutas de los huracanes— sino que algunas nos fueron anunciadas desde hace medio siglo. Los que tuvimos el privilegio de ir a la universidad del estado —ahora, como todo, bajo asedio— pudimos leer y escuchar en sus aulas a algunos de estos autores, y a muchos otros que merecerían estar aquí. De todos aprendimos que a pesar de lo auspicioso que parecía el presente había encuadres narrativos plagados de ausencias, fallas sistémicas que atender, y nuevos rumbos que desde entonces no podían esperar. No todas esas ausencias que nos fueron señaladas están plasmadas en nuestra selección, ni todas las fallas sistémicas que debemos corregir son atendidas en esta colección. Esto nos pesa enormemente y esperamos que no desmerezca en un ápice la generosa clarividencia de los textos que les presentamos". De la Introducción de Anayra Santory Jorge y Mareia Quintero Rivera

Description: Los estudios sociales en ciencia y tecnología en América Latina cuentan ya con medio siglo de desarrollo en la región. El origen del campo en los años sesenta dotó de características propias que permanecieron, a lo largo de las décadas con diferentes niveles de intensidad, en el marco de nuevos modelos y formas de pensar el desarrollo y de afrontar las condiciones de pobreza y exclusión de nuestras sociedades. Una vez recorrida la etapa de profesionalización del campo –y en diálogo con la dinámica de construcción de estos estudios en los países del norte– se retomaron desde nuevas preguntas y perspectivas aquellas reflexiones iniciadas en los años sesenta, al tiempo que se generaron esfuerzos por construir miradas originales sobre los significados sociales, económicos y políticos de la ciencia y la tecnología. Así se construyeron enfoques y perspectivas analíticas que aprovechan los aportes del campo a nivel internacional y los alimentan con perspectivas regionales. Ciencia, tecnología y sociedad en América Latina está organizado en cinco secciones variadas y heterogéneas, referidas todas ellas a América Latina, en las que se discuten problemas sociales muy diversos. El rico caudal de estas investigaciones sostiene como objetivo común la superación del atraso y de la dependencia de nuestros países, y la búsqueda de estrategias adecuadas en pos de mejorar las condiciones de vida en la región. Con una perspectiva múltiple e interdisciplinar, investigadores jóvenes del continente muestran la riqueza y la relevancia de los estudios actuales en este campo.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: A lo largo de los años se ha evidenciado que las migraciones son fenómenos estructurales de nuestras sociedades y no esporádicos. Sin embargo, en las últimas décadas, tanto desde los gobiernos, los organismos internacionales como desde la academia, se han aso ciado las migraciones al concepto de crisis. ¿Por qué se sigue vinculando la movilidad humana a la idea de un evento extraordinario de la modernidad? ¿La migración es una consecuencia de la crisis o una causa? ¿Cómo construyen los distintos gobiernos y organismos internacionales el concepto de crisis migratoria? Buscando responder a estos y otros interrogantes, los capítulos en este volumen ofrecen una mirada crítica al vínculo entre migración y crisis desde diferentes ángulos teóricos y geográfi cos e invitan a repensar los límites del propio concepto de crisis migratoria a través de doce estudios de caso organizados en torno a las categorías analíticas políticas, medioambiente e identidad.

Description: A lo largo de doscientos años de autonomía en Centroamérica se ha demostrado suficientemente que las pretensiones de independencia, a pesar de consolidarse en el plano político, no abonaron para generar el cambio de las estructuras sociales y económicas. Abundantes análisis señalan la recurrente falta de visión y voluntad para reorientar el camino de los países centroamericanos. ¿En dónde está la región? ¿Qué perspectivas se pueden visualizar a partir de las condiciones con las que se convive cotidianamente? ¿Hay alternativas que subsanen los excesos del sistema vigente y que lo reorienten o transformen? Estos y otros más son los interrogantes que motivan y estimulan los quince ensayos que componen este libro colectivo, ganadores de la convocatoria organizada por la Secretaría Ejecutiva de CLACSO y los centros miembros de Centroamérica con la finalidad de poner en valor la relevancia del conocimiento producido por las y los investigadores.

Description: Con claroscuros y matices diferenciados, América Latina sigue siendo un espacio abigarrado de experiencias y posibilidades en disputa, en el que no parece haber lugar para la rendición. Lo que vendrá tras esta crisis sanitaria, económica y social será el resultado, seguramente, de las contradicciones que se despliegan cada día, en cada lucha, en cada rebeldía, en cada decisión de resistir, en cada voluntad de avanzar y no dejarse vencer en un mundo en el que el destino anti-capitalista parece, cada vez más, el único posible y necesario de construir.

Description: El estudio etnográfico sobre los chichimecas jonáz, reconoce en la historia a uno de los pueblos originarios cazadores-recolectores del centro-norte de México, más denostado desde la época prehispánica por los Mexica o Aztecas, considerados como “perros sucios, inciviles", significado del término chichimeca; bárbaros-salvajes, por los conquista- dores ibéricos; holgazanes, que no trabajan y no producen nada, por algunos habitantes de San Luis de la Paz, Guanajuato. El lector encontrará cómo los chichimecas-jonáz continúan siendo una sociedad marginal al resto de la sociedad dominante, pero resistiendo ante el embate del sistema capitalista que se apropia de sus territorios y fuerza laboral mediante megaproyectos extractivistas, energéticos, parques industriales y otros, que generan enormes ganancias a los capitales transnacionales, además de la expansión de las ciudades cercanas.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Los textos aquí publicados apoyaron las discusiones del seminario La defensa del territorio, la cultura y la vida de las comunidades campesinas e indígenas de América Latina y el Caribe ante el avance del capital extractivista, realizado del 12 al 16 de septiembre de 2019, en Asunción y que congregó a líderes de movimientos sociales campesinos e indígenas, organizaciones urbanas que luchan por el derecho a la tierra y a la ciudad, académicos de Argentina, Brasil, Colombia, México y Paraguay. La actividad pública se construyó en el marco de la XIX Reunión Anual del GT CLACSO Estudios Críticos del Desarrollo Rural, resultado de una alianza con la Facultad de Ciencias Sociales (FACSO) de la Universidad Nacional de Asunción (UNA), a través de su Dirección de Extensión Universitaria (DEU) y el Centro de Estudios Rurales Interdisciplinarios de Paraguay (CERI).

Description: El Consejo Latinoamericano de Ciencias Sociales (CLACSO) y la Entidad por la Igualdad de Género y el Empoderamiento de las Mujeres de las Naciones unidas (ONU Mujeres) impulsaron la convocatoria de becas para equipos de investigadoras y activistas denominada “Feminismo y ambiente. Un campo emergente en los estudios feministas en América Latina y el Caribe". Dicha convocatoria es la que da origen a esta publicación. Las propuestas de investigación seleccionadas tuvieron el propósito de: • Elaborar un estado del arte desde una perspectiva analítica crítica que resalte la producción latinoamericana y caribeña en diálogo con la mundial. • Elaborar un estado del arte desde una perspectiva analítica crítica que releve la práctica de las organizaciones feministas de base vinculada a ambiente, uso de recursos, buen vivir, desarrollo sostenible, etc. • Elaborar un mapeo de las organizaciones feministas vinculadas a ambiente, uso de recursos, etc.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Neorrealismo y cine en Cuba: Historia y discurso entorno a la primera polémica de la Revolución, 1951-1962 examina la historia estética y las relaciones entre la producción cinematográfica cubana y el neorrealismo italiano. El recorrido histórico comienza en 1951, antes del triunfo de la Revolución, y termina en 1962, año que marca la ruptura entre los cineastas cubanos y la estética neorrealista italiana. Las colaboraciones principales sucedieron entre los directores de cine Tomás Gutiérrez Alea y Julio García Espinosa y el cineasta neorrealista italiano Cesare Zavattini. Las circunstancias que llevaron al fin de las relaciones entre Zavattini y los cineastas cubanos están conectadas a la película El joven rebelde, dirigida por García Espinosa y estrenada por primera vez en 1961. La ruptura se dio por divergencias creativas e ideológicas sobre la manera en que se quería retratar al protagonista del largometraje. Este detalle, que aparentemente puede parecer de menor importancia, tuvo repercusiones importantes que llevaron a un distanciamiento de García Espinosa, de Gutiérrez Alea, así como del resto de los cineastas cubanos que estaban trabajando en el Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) a partir de 1959, para buscar sus propias estrategias creativas con el fin de moldear una producción cinematográfica nacional. Sin embargo, cabe señalar que los cineastas cubanos no habrían encontrado la gramática necesaria para reescribir su cine revolucionario sin las colaboraciones y sobre todo sin la ruptura con Zavattini. Este nuevo lenguaje cinematográfico no habría podido existir sin las varias pausas y distancias que caracterizaron la relación cubana con el neorrealismo. En otras palabras, el intercambio fragmentado entre García Espinosa, Gutiérrez Alea y Zavattini creó nuevos espacios dentro de los cuales los cubanos pudieron encontrar oportunidades creativas para expresar su propia visión cinematográfica. Neorrealismo y cine en Cuba: Historia y discurso entorno a la primera polémica de la Revolución, 1951-1962 [Neorealism and Cinema in Cuba: History and Discourse on the First Polemic of the Revolution, 1951-1962] examines the aesthetic history and relations between Cuban film production and Italian Neorealism. The historical framework begins in 1951 before the triumph of the Cuban Revolution and ends in 1962, a year that marks a rupture between Cuban filmmakers and the Italian neorealist aesthetic. The main collaborations happened between Cuban directors Tomás Gutiérrez Alea and Julio García Espinosa and Italian neorealist filmmaker Cesare Zavattini. The circumstances that led to the end of the relationship between Zavattini and the Cuban filmmakers are connected to the film El joven rebelde [The Young Rebel], directed by García Espinosa and screened for the first time in 1961. The rupture centered on creative and ideological differences regarding the way in which the protagonist was to be portrayed in the movie. This seemingly minor disagreement had considerably larger repercussions, the end result of which was that García Espinosa and Gutiérrez Alea, as well as the rest of the Cuban filmmakers who worked within the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) after 1959, were driven to find their own creative strategies to craft a national film production. However, the Cuban filmmakers would not have found the necessary grammar to rewrite their own revolutionary cinema without the rupture with Zavattini. This new cinematographic language could not have existed without the various pauses and the distances that characterized the Cuban relationship with Neorealism. In other words, the fragmentary interchange between García Espinosa, Gutierrez Alea, and Zavattini created new spaces in which the Cubans could find creative opportunities to express their own cinematic vision.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Las propuestas gubernamentales de cambio educativo en el siglo XXI son fundamentalmente reformas laborales que forman parte de nuevos paquetes de ajuste estructural que se adelantan en correspondencia a la nueva generación de políticas neoliberales en curso. Algunas de sus expresiones más evidentes son la despedagogización del hecho educativo, el ataque a la profesión docente, la destrucción de la educación pública y las limitaciones para el desarrollo de formas organizativas autónomas de los y las trabajadoras de la educación.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Este es un libro que permite comprender las políticas que ha desarrollado el Estado de Chile para hacer frente a la siempre contingente y creciente organización de hinchadas de fútbol profesional. Al mismo tiempo, es un aporte para el diálogo y la discusión que sobre estos temas se lleva en Latinoamérica. Desde el grupo de Trabajo Deporte, Cultura y Sociedad de CLACSO recomendamos este trabajo como un aporte al debate y como una guía para quienes construyen políticas públicas sobre el tema.

Description: Tejiendo redes: el VIH visto a través de 14 activistas de Latinoaméica es un libro coral, un carrusel de anécdotas, historias, opiniones y análisis sobre una de las grandes pandemias de nuestro tiempo: el sida. A cuarenta años de la primera descripción clínica de casos de lo que se conoció como el Síndrome de Inmunodeficiencia Adquirida, nos encontramos en un momento propicio para ver con mayor perspectiva el fenómeno de esta pandemia. Definitivamente, la coyuntura es ideal para debatir el tema del VIH y quien mejor que los, las y les activistas de nuestra región para hablarnos de la desesperación y el ostracismo padecido. Pero también, para que nos cuenten cómo a pesar de los estigmas y de las limitaciones, lograron buscar soluciones, se reunieron, organizaron y crearon un mejor futuro para las nuevas generaciones.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: La presente publicación es un esfuerzo interinstitucional entre el Consejo Latinoamericano de Ciencias Sociales (CLACSO) y la Casa de las Américas, quienes lanzaron el Premio de ensayos Haydée Santamaría para investigadores/as de América Latina y el Caribe. Dicho Premio se realizó en homenaje a Haydée Santamaría (1923-1980), revolucionaria e intelectual cubana quien, entre otras importantes obras, fundó y dirigió la Casa de las Américas. Esta publicación ofrece una diversidad de temas centrados en la política, movimientos y desafíos del legado revolucionario cubano y también en las fuerzas progresistas latinoamericanas. Se trata de una publicación que contiene ensayos individuales, pero que al publicarse de manera conjuntan implican un importante emprendimiento colectivo, cuyo contenido con seguridad invitaran al debate y a la reflexión.

Description: En los últimos años hemos visto un crecimiento importante de diversas investigaciones enmarcadas en los Estudios Sociales del Deporte en nuestro continente. Gracias al esfuerzo personal de académicos como Pablo Alabarces y Simoni Lahud Guedes, hoy se han multiplicado las publicaciones que adscriben a esta comunidad. También ha habido esfuerzos institucionales de múltiples universidades que han contratado académicos e investigadoras y que han financiado estudios, sumado al interés del Consejo Latinoamericano de Ciencias Sociales (CLACSO) por apoyar este trabajo en el continente. Concretamente, el Grupo de Trabajo “Deporte, Cultura y Sociedad" de CLACSO ha generado vínculos entre académicos del continente para continuar con el legado de quienes nos han marcado el camino. Este libro es una muestra de cómo, colaborativamente, se pueden construir investigaciones críticas y enfocadas en la transformación de las desigualdades e injusticias.

Description: “La verdad poco importa para un gobierno cínico. Y no es que se desconoce sino que simplemente no importa. El cinismo es eso: saber la verdad y mentir sabiendo que se miente. Los medios hegemónicos, aliados indispensables de estos gobiernos, llevan adelante grandes estrategias de disciplinamiento que se condicen a su vez con diferentes etapas históricas que ha atravesado nuestra región, pero que también operan yuxtapuestas hasta nuestro presente, acompañadas, todas ellas, por la idea insoslayable de que siempre ante el poder opresivo de las elites, se oponen poderes de resistencia de nuestros pueblos". Florencia Saintou - - “Este libro nace de una apuesta colectiva: es posible el sueño de comunicar. Es posible una comunicación política colectiva. Frente a los discursos individualizantes, frente a la psicopolítica que nos entrena cada vez más para que nos autocontrolemos y nos autoexijamos. Frente a las redes sociales que aíslan en lugar de comunicar. Frente a los discursos que nos dejan vacíos de esperanzas. Es posible una comunicación distinta, es la comunicación de la resistencia". Amparo Marroquín Parducci

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: La lucha por la implementación del Acuerdo de Paz transcurre de manera simultánea en dos sentidos. Por una parte, como necesidad de superar y derrotar en forma definitiva las resistencias de sectores que liderados por las expresiones más extremistas de la derecha política buscan desconocer la realidad histórica y concreta del Acuerdo de Paz, en cuanto posibilidad de tramitar el conflicto social y d clase por la vía exclusivamente política. Pero, al mismo tiempo, por la otra, como necesidad también de una implementación integral, de construir la legitimidad de una concepción de la paz que trascienda la visión meramente pacificadora o gatopardista, es decir, que apunte a una paz que efectivamente posea los contenidos propios de la democracia verdadera y la justicia social en camino hacias las transformaciones más profundas de la sociedad colombiana. Y, por qué no decirlo, que se encauce hacia la superación definitiva del orden social vigente; aspiración que también se encontraba tanto en los orígenes como en la larga historia de la lucha guerrillera en Colombia.

Description: Esta antología de Horacio González es una invitación a aventurarse en el archipiélago completo de la obra de una de las figuras claves en la conversación pública de Argentina. El recorrido propuesto por los compiladores incluye tanto capítulos fundamentales como algunas rarezas y piezas dispersas que buscan presentarnos a un ensayista cuyo estilo está hecho, a la vez, de derroche y precisión. El volumen transita entre la lectura de los clásicos del pensamiento argentino que arriesgaron un surco propio en la historia de las ideas de este país y artículos abocados a pensar los “años de la revolución". Guía el itinerario la pregunta sobre cómo tratar los archivos que nos llegan del pasado, pero también aquellos que circulan y nos comprometen en el presente.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Este libro no fue escrito para agradar a nadie. Muy probablemente la gran mayoría de actores institucionales aquí mencionados no lo apreciara. Aunque, como alerta Camus en La caída, si estuviesemos en una democracia seríamos todos culpados. No es el caso. No hay como transigir frente al descalabro de la supuesta cooperacion internacional, la connivencia criminal de la elite haitiana y el sufrimiento sin fin de la mayoría de su poblacion. Se trata de un testimonio comprometido, escrito por alguien imbuido de la tenue esperanza de que puede contribuir a reducir el tiempo que falta para que el mundo y Haití encuentren otro camino, distinto al que recorrieron hasta ahora, en sus relaciones recíprocas.

Description: En este libro se abordan algunas de las formas en las que la desigualdad social y la estigmatización, racialización e invisibilización de la pobreza se legitiman a través de la prensa hegemónica. Reúne artículos que presentan parte de los resultados de las investigaciones llevadas a cabo en Argentina, Brasil y Colombia en el marco del proyecto POLAME (Poverty, Language and Media –Pobreza, Lenguaje y Medios–) financiado por la cooperación noruega. Los autores pertenecen al equipo de este proyecto salvo el caso de Marcela Toro, articulista invitada. El objetivo del proyecto POLAME fue detectar las expresiones lingüísticas usadas en la prensa de cuatro países indo/latinoamericanos (Brasil, Argentina, Colombia y México), palabras, vocabulario, nociones, conceptos, atributos sobre la pobreza y sus representaciones, partiendo del supuesto de que, como formadora de opinión, la prensa hegemónica reproduce concepciones, creencias e ideologías sobre la pobreza.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Franz Hinkelammert afirmó hacia fines del siglo XX una idea que tiene plena vigencia: "La nueva derecha es heredera de las dictaduras militares de Seguridad Nacional, y su vocación es asegurar el esquema de poder originado por esas dictaduras bajo formas democráticas, en beneficio de las élites y con la bendición de Estados Unidos".En efecto, las estrategias de la derecha vuelven a sus orígenes. En el plano político, se ha intensificado el perfil ideológico desplazando el espectro hacia posturas ultraderechistas. El autoritarismo de nueva generacio´n registrado durante la segunda de´cada de este milenio definitivamente se ha exacerbado. Esta matriz se ha reforzado en lo económico, actualizando la antigua alianza tecno-militar en la composición de los gobiernos en cargos claves (Brasil, Paraguay y Colombia), al tiempo que se refuerza el imaginario del Estado emprendedor, ahora conducido sin mediaciones y en forma directa por empresarios.

Description: Esta recopilación de artículos, conferencias y entrevistas sobrevuela las distintas realidades de los países de la región. Lo hace munido de una concepción de la historia que no mira con nostalgia el pasado y cree en la necesidad de reinventar siempre el camino, en al menos dos direcciones. Por un lado, buscando profundizar la integración latinoamericana en una tarea permanente de rearticulación de sus objetivos e instituciones, conformada tanto de visiones y agendas convergentes como de pragmatismo y eficacia. Por el otro, avanzando en un modelo de gobernabilidad que sepa ampliar las bases del Estado sin coaptar el poder popular, en una dinámica que no es sencilla de alcanzar pero sobre la que se podrá sostener un programa de gobierno progresista que no traicione la voluntad y la capacidad de movilización de las bases.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Esta edición se realiza en el contexto del Centenario de la Reforma Universitaria cordobesa de 1918 y del cincuentenario de los hechos de 1968: el Mayo Francés, el ’68 uruguayo, la passeata dos cen mil brasileña y la masacre de Tlatelolco. El año elegido constituye un ícono, donde el sentido común ha condensado toscamente la gran cantidad de movilizaciones estudiantiles inmediatamente anteriores y posteriores, como las ocurridas en Alemania Federal, Bélgica, Checoslovaquia, China, Corea, Egipto, España, Gran Bretaña, Estados Unidos, Italia, Japón, Polonia, la Unión Soviética y Yugoslavia. En nuestro continente, además de los casos mencionados, también hubo grandes luchas estudiantiles en Argentina, Colombia y Chile, que aparecen en este volumen, y en Bolivia, Cuba, Nicaragua, Perú y Venezuela, que lamentablemente no cuentan con capítulos específicos en nuestro libro. Se trata de un libro verdaderamente colectivo, porque reunimos investigaciones con perspectivas teóricas y metodológicas diversas, sobre varios de los ciclos de movilización estudiantil más trascendentes de seis países latinoamericanos hacia fines de los ’60 y principios de los ’70, procesos a los que llamamos “los ‘68". Compartimos artículos realizados con el marco conceptual del marxismo y otros escritos desde las teorías de la acción colectiva; investigaciones que utilizaron como fuente principal los testimonios orales y otras que privilegiaron el registro hemerográfico, escritos de una densidad descriptiva notable y reflexiones conceptuales originales. En todos los casos textos metódicamente construidos, que brindan nueva información o nuevos enfoques sobre la política, la cultura y la universidad latinoamericana en los años ’60 y ’70. Del Prólogo de Mariano Millán

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: La meta principal de este estudio es averiguar –siguiendo la teoría de Frantz Fanon a través de su pedagogía obrera– los "mecanismos" conceptuales que podrán servir para una "relectura" de los Movimientos Sociales, observando al proceso pedagógico de Haití, con vistas a su transformación social y económica. De esa forma, ante el cuadro de emergencias en el que se encuentra Haití, surgieron preguntas respecto de cuáles serían las tareas más osadas de un educador que acepta el desafío como su responsabilidad. Preguntas como ésta, entre otras, nos han acompañado en el día-a-día, a lo largo de la escritura de este libro. Sin duda, el repensar a Haití y sus procesos educativos, consiste en un gran desafío que no puede ser asumido de forma aislada, sino de forma colectiva.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: En el marco de intensos cambios políticos y económicos, el salto de siglo trajo a Latinoamérica nuevas orientaciones en la gestión y negociación de las políticas sociales, además de consensos y conflictos en torno a las mismas. Sin abandonar del todo las medidas de corte liberal recomendadas por el Consenso de Washington, buena parte de los gobiernos de la región incluyeron en sus agendas objetivos de corte universalista, junto con la implementación de un conjunto de transformaciones (heterogéneas) que mantienen, consolidan o modifican procesos iniciados en los años ochenta del siglo pasado. Partiendo de este contexto, la presente obra colectiva del Grupo de Trabajo sobre Pobreza y Políticas Sociales de CLACSO, condensa sus preocupaciones sobre los retos que enfrenta América Latina para enfrentar los niveles de exclusión social que la caracterizan, a la vez que ensaya explicaciones sobre la incidencia de los ciclos económicos y políticos que afectan permanentemente su patrón de distribución de la riqueza, e instituyen una lógica de avance y retroceso que bloquea la instalación de adecuadas estrategias de bienestar, con capacidad para atender los principales riesgos sociales y reducir la desigualdad. El análisis de esta compleja e histórica problemática, contextualizada en los primeros quince años del siglo XXI, ofrece la oportunidad de identificar las distintas orientaciones políticas de los gobiernos de turno y sus dilemas.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: El presente libro es el resultado del más reciente esfuerzo colectivo del grupo de trabajo de Clacso "Economías alternativas y Buen Vivir". El grupo de trabajo tiene como objetivo central el análisis y apoyo de las experiencias de solidaridad económica en América Latina, decantándose por la exploración de los alcances y límites que tales procesos suponen para las comunidades locales y los movimientos sociales. Con esto se busca dar continuidad a los procesos investigativos y formativos que este grupo de trabajo desarrolló desde su puesta en marcha de esta investigación colectiva dentro de Clacso en los años 2011 y 2013. Para el período de 2017 a 2019 el grupo de trabajo se propuso profundizar en las sendas analíticas abiertas en la primera etapa de trabajo. Ahora, se suma la participación de investigadores latinoamericanos radicados en Argentina, Bolivia, Brasil, Chile, Colombia, México y Perú.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Description not available.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Hace años que México atraviesa por una crisis de largo aliento, combinada con sucesivos estallidos de indignación y reclamos populares. Este texto propone ubicar y pensar la crisis de México a nivel específico del estado, considerándolo en su doble faz de instrumento de dominación y promesa no inocua de bienestar y evitando salidas sencillas. Este tipo de crisis no es nuevo en la región latinoamericana, por lo que recurrimos a otras experiencias (Argentina, Bolivia, Colombia, Ecuador y Venezuela) con ánimos de analizar qué podemos recuperar. El factor que nos permite la comparación con estos casos es la instancia de renovación constituyente: la convocatoria a renovar los acuerdos más básicos que nos ligan como pueblo. Pensamos la renovación constituyente no como simple recambio legal o técnico, sino como la convocatoria amplia a re-construir la nación a partir de acuerdos sociales básicos. ¿La figura del Congreso Constituyente es útil para estos fines? ¿cuál ha sido la experiencia al respecto en América Latina en el último movimiento constituyente? ¿Cómo se ven las perspectivas de México a la luz de esas experiencias? Estas son las preguntas que guían el texto.

Description: Description not available.

Description: O livro faz uma crítica ao modelo de desenvolvimento hegemônico, ao extrativismo e a degradação do meio ambiente que o caracterizam, assim como a ideia de reduzir a inclusão social ao acesso a bens de consumo individual. Para tanto, os diversos capítulos abordam temas essenciais como os debates sobre economia, comercio internacional e desenvolvimento; os imaginários sobre o desenvolvimento na América Latina; as discussões sobre meio ambiente na região e suas contribuições para repensar o nosso atual modelo de produção e consumo, e os vínculos entre migrações e desenvolvimento; assim como entre feminismos, gênero e desenvolvimento, com ênfase nas relações Sul-Sul. Outros temas também analisados no livro são as propostas decoloniais e de pós-desenvolvimento amplamente debatidas na região e as contribuições latino-americanas de campos como a educação e a comunicação para pensar em alternativas ao atual modelo de desenvolvimento.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Sin duda, estos trece artículos ofrecen diversos análisis, información rigurosa y actualizada, reflexiones críticas y perspectivas y metodologías innovadoras que delinean las principales características del gobierno urbano local en relación con las condiciones habitacionales actuales y la política de vivienda implementada en diferentes ciudades de Am.rica Latina. Asimismo, los autores señalan los principales retos y apuntan algunas propuestas para mejorar la acción institucional y social en torno a la producción y acceso a la vivienda. Entre las ideas principales que cruzan este conjunto de trabajos está la necesidad de fortalecer e incrementar las capacidades de los gobiernos locales para tomar decisiones sobre la construcción de viviendas en su propio territorio.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Esta antología del pensamiento crítico brasileño, cuyo recorte temporal abarca desde mediados del siglo pasado hasta el presente, supone un esfuerzo por presentar algunos de los principales ejes y autores/as que organizaron la reflexión sobre la sociedad brasileña desde entonces. No se trata de agotar los temas y las cuestiones que fueron emergiendo a lo largo de este tiempo, tampoco los/las autores/as más importantes o representativos/as. Semejante tarea sería siempre frustrante e incompleta. Más bien, se busca ofrecer un panorama general respecto de cómo el pensamiento crítico fue ganando, desde la década de 1950, una relativa organización e incluso cierta acumulación intelectual en el país. La variedad de períodos, autores/as y perspectivas aquí presentes no borra un rasgo relativamente común al pensamiento crítico brasileño: se trata de una reflexión históricamente orientada, que entiende que el proceso de formación de una sociedad de origen colonial y estructurada a partir de la esclavitud y de la gran propiedad rural genera efectos de larga duración en la dinámica social, haciéndose sentir hasta el presente. Presente duro, con fuertes retrocesos sociales y políticos, que hace más urgente que nunca la tarea de rescatar y actualizar el pensamiento crítico. Como decía Francisco de Oliveira en “La tarea de la crítica", “la excepción obliga a pensar excepcionalmente". Esperamos que la presente antología contribuya en esa dirección y que, al mismo tiempo, sirva para acercar más Brasil al resto de América Latina y el Caribe. - De la introducción de Breno Bringel y Antonio Brasil Jr.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: No livro ‘O Golpe de 2016 e a Reforma da Previdência’ – Narrativas de Resistência, há mais de 70 artigos assinados por 95 autores diferentes, com áreas de atuação ligadas às relações de trabalho e direito previdenciário, seja no meio acadêmico, jurídico ou sindical. São dirigentes de entidades representativas dos trabalhadores, professores universitários, advogados, magistrados, membros do Ministério Público e parlamentares. O novo volume se propõe a denunciar a desconstrução dos direitos sociais por meio da reforma da previdência.

Description: Description not available.

Description: La multiplicación de referencias al Estado de derecho que se observa en los últimos años en México puede ser una expresión de su vitalidad, pero también de la decepción creciente respecto a su vigencia e, incluso, de su descomposición. A partir de investigaciones desarrolladas desde diferentes enfoques y en varias esferas, este volumen analiza algunos procesos institucionales y sociales que permiten entender el Estado de derecho en México. La militarización de tareas gubernamentales, la generalización de actividades ilegales como el despojo, la inobservancia de las reglas urbanísticas, el reformismo irreflexivo de la Constitución y otros muchos rasgos del orden jurídico mexicano y de sus operadores son examinados por los autores como procesos en los que se expresa un deterioro de las condiciones para hacer posible el Estado de derecho.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Este libro es como una de esas composiciones musicales donde se discurre un tema a través de contrapuntos en diferentes tonos. Se confor- ma de ensayos socioantropológicos sobre la identidad religiosa del cubano y las dinámicas del campo religioso en Cuba desde los años noventa del siglo pasado hasta la contemporaneidad. La figura del encantamiento guía una sintética exploración de la emergencia de las identidades religiosas y de las experiencias de lealtades y adhesiones a sistemas religiosos que han ganado en centralidad y notoriedad pública al nutrir certezas de cohesión, ampliar sus territorialidades, posicionarse socialmente e intercambiar legitimidades con el campo de la política. Evidencia las astucias cubanas para actualizar legados culturales y resolver, escapar, crear, resistir y liberarse de sus demonios en medio de peleas por la dignidad y conjuros re-encantadores de los vínculos sociales.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: El título del libro nos señala con precisión el recorrido que Pablo Imen realiza. Que las y los futuros lectores lo sepan desde el inicio es una invitación a sumergirse en una lectura meticulosa, consciente, y al mismo tiempo amplia en su desarrollo. El autor se propone “no dejar puntos sueltos", y así transita la historia desde el siglo XIX hasta nuestros días. Esa insistencia en la lectura de la historia social de las experiencias educativas de maestros y maestras que rompieron ciertas tradiciones escolares es una de las más fructíferas formas de entender, profundizar y hacer suya la labor de las y los indispensables constructores de la nueva escuela liberadora. La lectura de Memorias pedagógicas del futuro reafirma la condición docente del autor frente a públicos diversos: militantes políticos, dirigentes sindicales, docentes y estudiantes.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: La desigualdad histórica, y en cierto modo endémica, característica de América Latina, guarda relación con las condiciones de heterogeneidad que caracterizaron la conformación de los Estados nacionales y representaron trabas en la configuración de unidades territoriales nacionales auténticas; lo que derivó en la conformación de una región que nunca ha sido demográfica, económica, social, cultural y menos geográficamente una unidad socioterritorial homogénea. Lo que se impuso desde un comienzo y sobresalió como identidad latinoamericana fue la diversidad, los contrastes y la heterogeneidad estructural. América Latina es la “región más desigual del mundo". Un rasgo sobresaliente de la región, como en todos los países pobres y ricos que adoptaron el modelo neoliberal como opción económica, social y política de desarrollo, es la alta y persistente desigualdad social. Del Prólogo de Dídimo Castillo Fernández

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Esta investigación abarca un período histórico de intensas expectativas en la posibilidad de un cambio radical del orden establecido en América Latina. Sucesos como la Revolución Cubana, las luchas de liberación colonial de Asia y África, la derrota de los Estados Unidos en la guerra de Vietnam (1964-1973) o el estallido del Cordobazo (1969), llevaron a diversos núcleos intelectuales del progresismo y la izquierda a elaborar un proyecto político-cultural con asiento en una construcción revolucionaria de futuro inminente. Sin embargo, la radicalización de las posiciones ideológicas desató una serie de profundas disputas al interior de estos colectivos, en la medida en que la figura del guerrillero fue consagrándose como el máximo ejemplo de compromiso moral con la transformación del sistema capitalista. El interés de nuestra investigación se centra de manera especial en la compleja ambigüedad de tensiones que esta situación desató.