Abstract As its aesthetics, methods, and conceptual focus have, in many respects, merged with those of mainstream contemporary art, the boundaries of media art have become more unclear than when the use of technology in art was more of a rare occurrence. While the term "media art" may be helpful in designating a particular sphere of practice and discourse, its current meaning has shifted as a result of changing contexts surrounding the use of technology in art. From its close association with "new media" such as the digital computer, the internet, screen-based media, and interactive systems in the early days of media art as a field, this term now bears re-evaluation in light of the pervasive use of technology we are familiar with in the post-digital condition. As many of these defining forms of new media have lost their novelty and have also been adopted in mainstream artistic practices, media art may be defined less by its engagement with specific media than by stylistic and referential aspects derived from its historical lineage. This paper draws comparisons between early discussions on media art and recent developments in this area with the aim of developing insights into whether and in what capacity media art remains relevant as a term for addressing technologically engaged contemporary artistic practices. By considering media art in such terms, this investigation reconsiders what may be regarded as defining aspects of the field, enquiring into what potential this reframing may have for practitioners and theorists working with this topic.

Resumo À medida que a sua estética, os seus métodos e o seu foco conceptual se fundiram em diversos aspetos com os da arte contemporânea convencional, os limites da media art tornaram-se menos claros do que quando a utilização da tecnologia na arte era ainda pouco frequente. Embora o termo "media art" possa ser útil na designação de uma esfera de atuação ou discurso específica, o seu atual significado sofreu uma alteração decorrente da evolução das circunstâncias inerentes à utilização da tecnologia na criação de arte. Devido à sua íntima associação, desde os seus primórdios enquanto campo, com os "novos média", como o computador, a internet, os meios de comunicação à base de ecrãs e sistemas interativos, este termo requer agora uma reavaliação face ao panorama de computação pervasiva com o qual estamos familiarizados na condição pós-digital. Sendo que muitas destas formas definidoras dos novos média deixaram de ser novidade e foram integradas em práticas artísticas convencionais, a media art poderá não se definir tanto pela sua interação com meios de comunicação específicos, mas sim pelos aspetos estilísticos e referenciais provenientes da sua linhagem histórica. Este trabalho estabelece comparações entre os primeiros debates acerca da media art e desenvolvimentos recentes na área, com o propósito de compreender se, e de que forma, a media art continua a ser relevante enquanto termo referente a práticas artísticas contemporâneas que utilizam a tecnologia. Considerando-a de tal perspetiva, esta investigação propõe repensar que aspetos poderão ser considerados inerentes a esta área e questiona a forma como esta reestruturação poderá beneficiar os profissionais e teóricos que abordam este tópico.

Abstract This paper is built around two central axes: rhizomatic learning and the post-digital era. Rhizomatic learning bases its principles on the construction of knowledge based on the contributions of students in real time, with the aim of understanding the community as a curriculum. For its part, the post-digital era is understood as the situation in which digital technology is an imposed social necessity. Since education, despite being public, is not free, digitisation increases the socio-economic gap between students with access to digital tools and those who do not. Thus, the possibility of counter-digitisation is proposed: using digital technology as another emancipatory tool. That is, when it is possible, use it competently and equitably; however, when this situation cannot be achieved, we must have a post-digital praxis that understands the world-system with the same or similar possibilities. To this end, rhizomatic learning and post-digital era will be presented as inherent parts for the production of the upcoming pedagogical proposal: the possibility of establishing a post-digital pedagogy. To provide philosophical grounding, a literature review of the two aforementioned axes is presented from the work of Deleuze and Guattari, exposing a distant and rupturist approach to the digitalist positions of current techno-capitalist education.

Resumen El presente trabajo se construye alrededor de dos ejes centrales: el aprendizaje rizomático y la era posdigital. El aprendizaje rizomático asienta sus principios en la construcción del conocimiento a partir de las aportaciones del alumnado en tiempo real, con la finalidad de entender la comunidad como currículo. Por su parte, la era posdigital se entiende como la coyuntura en que la tecnología digital es una necesidad social impuesta. Partiendo de que la educación, pese a ser pública, no es gratuita, la digitalización aumenta la brecha socioeconómica entre el alumnado con acceso a herramientas digitales y el que no. Así, se propone la posibilidad de contradigitalización: usar la tecnología digital como una herramienta emancipadora más. Esto es, cuando sea posible, utilizarla de manera competente y equitativa. Ahora bien, cuando esta situación no pueda darse debemos contar con una práctica posdigital que comprenda el sistema-mundo con las mismas o similares posibilidades. Para ello, aprendizaje rizomático y era posdigital serán presentados como núcleos inherentes a la producción de la propuesta pedagógica viniente: la posibilidad de establecimiento de una pedagogía posdigital. Como sustento filosófico se presenta una revisión de literatura de los dos ejes mencionados desde la obra de Deleuze y Guattari, exponiéndose un acercamiento rupturista con las posiciones digitalistas de la educación tecnocapitalista actual.

Post-digital, as a timeframe set, raises specific concerns for young adults engaged in artistic and cultural activities, seeking to establish a sustainable livelihood within a semi-rural South African context. They grapple with issues such as determining their positionality within a world marked by fading boundaries between the physical and digital. To better understand the post-digital impact on experiential learning opportunities for young adults, the authors explored the specific ways and extent to which active engagement in shortfilm-making contributes to developing critical self-awareness among the participating post-school youth. An assemblage of transformative theories and concepts, rather than pre-determined methodologies, guided this inquiry that extended beyond the development of career and workplace competencies. The strengths of spaciousness and in-between boundary positions provided by the spider's thread metaphor served as a useful methodological tool. Moving beyond the limitations of traditional discourse and content analysis, multimodal discourse analysis in combination with a modified, six-category measuring instrument was used to explore (analyse) the evidence (data) created as products of active participant engagement in a shortfilm-making project, over a 10-month period in 2020. Findings revealed that, for the participants, it was by moving from physical self-centred understandings of reality to experiential creations of authentic reality (shortfilm-productions) and involving an expanded awareness of those alternative possibilities that nurtured their potential transpersonal growth. TRANSDISCIPLINARY CONTRIBUTION: A synthesis of arts-based, post-qualitative and developmental phenomenographic approaches was employed to create, explore and communicate evidence in ways that present a holistic picture of alternative pathways to knowledge production.

Resumo O presente artigo analisa o trabalho de três artistas contemporâneas, independentes e ativas no panorama da banda desenhada portuguesa: Hetamoé, Joana Mosi e Ana Margarida Matos. Faz uma leitura formal detalhada do seu trabalho, seguindo o artigo fundamental de Peter Wollen sobre contra-cinema. Apesar das ressalvas quanto à adoção de noções absolutas e inequívocas de diferentes media, há suficientes pontos em comum e características narratológicas que proporcionam comparações estimulantes. Tal como no cinema, também na banda desenhada existe um entendimento normativo amplamente aceite do modo de criação de sentido da banda desenhada, contra o qual estas três autoras apresentam aquilo a que se pode chamar, a exemplo de Wollen, estratégias formais de resistência. A banda desenhada portuguesa tem uma história conturbada, que envolve um desenvolvimento económico difícil e a falta de um reconhecimento social mais amplo (como um campo culturalmente relevante). No entanto, os seus domínios e subculturas mais independentes têm dado provas de criadores individuais empenhados, informados e inventivos. As mulheres criadoras não são exceção à regra, e este grupo em particular demonstra três potencialidades para expandir o campo, tanto política como esteticamente. Além disso, estas mesmas estratégias de des/re/construção abordam questões associadas à identidade, ao autorretrato, a questões corporais, à memória e aos próprios processos de criação de significado em que assenta o seu trabalho. As dimensões feministas do seu trabalho, ainda que bastante variadas, permitem detetar interpretações intensas do eu e do papel da mulher num processo mais amplo de autorrealização e vida social. Assim, utilizarei as noções de “cuteness” (fofura) e “animatedness” (animação) de Sianne Ngai para compreender como as três autoras interpretam e constroem o seu eu na banda desenhada.

Abstract The present paper analyses the work of three contemporary, independent women artists active in the Portuguese comics scene: Hetamoé, Joana Mosi, and Ana Margarida Matos. It provides a close formal reading of their work by following Peter Wollen's seminal article on counter-cinema. Despite the caveats of adopting whole cloth and in a clearcut manner notions from different media, there are enough commonalities and narratological features that provide stimulating comparisons. As in cinema, comics also have a broadly accepted normative understanding of comics' way of creating meaning, against which these three authors present what one can call, after Wollen, resisting formal strategies. Portuguese comics have had a troubled history, which entails a difficult economic development and the lack of wider social recognition (as a culturally relevant field). However, its most independent realms and sub-cultures have provided ample proof of engaged, informed, and inventive individual creators. Women creators are no exception to this, and this particular group shows three potentialities of opening up the field, both politically and aesthetically. Moreover, these same de/re/constructive strategies broach issues associated with identity, self-portrait, bodily matters, memory, and the very meaning-making processes at the core of their work. The feminist dimensions of their work, albeit quite varied, allow one to detect intense interpretations of the self and the role of womanhood in a broader process of self-actualization and social life. Thus, I will use Sianne Ngai's notions of "cuteness" and "animatedness" to understand the three author's specific manners of doing so, as depicted and constructed within the medium of comics.

Resumen: La serie La Peste (Movistar Plus+) supuso un referente prepandémico en el planteamiento de relatos ficcionales basados en estrategias transmedia de carácter híbrido (online y offline). La presente investigación ahonda en las claves para la construcción del suspense a través del desarrollo de acciones interactivas que sitúan al público en una posición protagónica en la historia mediante el diálogo entre el espacio geográfico, ficcional y expandido. Por tanto, examinaremos la resignificación de la ciudad a través de la imagen construida por la participación del espectador -en la serie- y del usuario -en las acciones transmedia-. Se aborda tanto el estudio del espacio ficcional y aumentado, teniendo en cuenta el territorio que conformaba la ciudad en el siglo XVI, como los procesos de ampliación de los contenidos a través de cartografías interactivas, movie maps y juegos de realidad alternativa (ARG). Como resultado, observamos una expansión de la serie mediante la metáfora del mapa en una expedición entre el pasado y el presente; la ficción y la realidad; el espacio geográfico y el ciberespacio; el medio tradicional -serie televisiva- y los formatos multiplataforma, produciéndose al mismo tiempo una nueva aproximación al espacio urbano sevillano desde un enfoque experiencial.

Abstract: La Peste series (Movistar Plus+) represented a pre-pandemic benchmark in transmedia and hybrid (online and offline) fictional storytelling. This research delves into the keys for the construction of suspense through the development of interactive actions that place the public in a leading position in the story through the dialogue between geographical, fictional and expanded space. Therefore, we will examine the resignification of the city through the image built up by the participation of the viewer -in the series- and the user -in the transmedia actions-. We address both the study of the fictional and augmented space, taking into account the territory occupied by the different strata that made up the city in the sixteenth century, and the processes of expansion of the contents through interactive cartographies, movie maps, and Alternative Reality Games (ARG). As a result, we observe an expansion of the series through the metaphor of the map in an expedition that flits between past and present; fiction and reality; geographical space and cyberspace; the traditional medium -television series- and multiplatform formats, which produces at the same time a novel approach to the urban space of Seville from an experiential perspective.

Abstract: The pandemic has highlighted the fast transmission of needs, goods and ideas that sustain the functionality of our globalised, networked world. At the same time, it has highlighted the resilience and unbreakability of this network when transporting undesirable events such as fake news or a virus. Henceforth, this situation has forced us to rethink how we plan our inhabited space. Since the inception of ubiquitous computing, the city has mutated under a new technologically mediated functionalism, overlaid by the platforms of a global and highly relational system that is submitting space to the logic of computing. Fruit of previous doctoral research, this article reviews the transformations leading to the constitution of this technologically mediated urban space and analyses them by applying Lefebvre’s Unitarian Theory of Space. The objective is to unveil the challenges of the postdigital urban space and present projects that point towards alternative possibilities for urban planning.

Resumen: La pandemia provocada por el covid-19 ha puesto de manifiesto cómo la funcionalidad del mundo globalizado se sustenta en la rápida transmisión de bienes, necesidades e ideas a través de una densa red de conexiones, así como la resiliencia e inquebrantabilidad de esta red cuando transporta eventos indeseables, como pueden ser las noticias falsas o un virus. Esta situación nos fuerza a replantearnos cómo hemos planificado el espacio urbano. Desde la aparición de la computación ubicua, la ciudad se ha visto transformada por un funcionalismo tecnológicamente mediado, que sobreimpuesto por las plataformas de un sistema global y altamente relacional, está sometiendo el espacio a la lógica de la computación. Fruto de una investigación doctoral previa, este texto revisa las transformaciones que han llevado a la constitución de este espacio urbano global y tecnológicamente mediado y las analiza aplicando la Teoría Unitaria del Espacio de Lefebvre. El objetivo de este análisis es desvelar los múltiples problemas que conlleva este espacio Postdigital y al mismo tiempo exponer proyectos que apuntan a posibilidades alternativas para el planeamiento urbano.

Abstract The word ‘genderless’ carries a cultural and social burden that hasn’t bestowed upon the general audience nor some of the most spoken about brands in the world. There have been top tier designers that have dipped their toes and tried to show a world without binary gender boundaries, but the message is still not accurate. If fashion design seeks its roots in the lifestyle of the beholder, than what lifestyle are some brands representing by showcasing their genderless ideas as neutral, basic and shapeless designs? Fashion is the art through which people can express themselves, but there always seems to be a limitation. The younger generations are questioning those limitations and establishing that we can wear what we want, as long as it’s representative of the gender we feel most, or not at all. There has been a surge of the word ‘genderless’ and several well-established brands are using it to promote, of what can only be pointed out as their marketing agendas. It’s important to understand that most of these brands haven’t done their homework and they haven’t talked to the people who actually go through the experience of a non-binary reality. The problematic isn’t necessarily the use of the word ‘genderless’, it’s the appropriation of the experience of people who aren’t even a part of the conversation. The present paper wants to explore how genderless seems to have become a label and a marketing move for brands and designers to try and engage with yet another audience. But also an exploration of how that is failing, especially when it comes to communicating and relating to the everyday experiences of people who live beyond the binary. Through contextual inquiries and personal interviews, we intent to dive into this experience of the world, with the positives and negatives, trying to sort if genderless is just a trend, or something else entirely.

Resumo O termo “genderless” carrega uma conotação cultural e social que parece ainda não existir no mainstream de um público mais vasto, e das próprias marcas de moda com mais impacto no mundo. Alguns designers começam já a tentar perceber de que forma podem abordar esta questão de um mundo que não se rege pelas limitações do género binário, mas a mensagem parece ficar aquém do que se espera. Se o design de moda, e a própria indústria, procura as suas raízes e inspiração no estilo de vida de quem observa, então que estilo de vida representam as marcas que mostram o genderless como designs neutros, básicos e sem forma? A moda é uma arte através do qual cada pessoa se pode expressar, mas parece existir sempre uma limitação. As gerações mais novas estão, finalmente, a questionar essas barreiras e a perceber que podemos, e devemos, usar aquilo que queremos, desde que represente o género que sentimos que melhor nos representa. Tem existido um aumento da palavra genderless e várias marcas já estabelecidas no mercado internacional utilizam-na como forma de promover uma ideia de inclusividade falsa. É importante perceber que são marcas que não fizeram a pesquisa de mercado relevante e não falaram com quem realmente vive neste formato não-binário. O problema não está necessariamente, no uso da palavra, mas na apropriação da experiência de vida de pessoas que nem fazem parte da conversa. Serve este artigo para explorar a forma como o genderless se está a tornar uma marca em si e uma estratégia de marketing de designers para tentarem captar mais uma audiência. Mas também uma análise de como essa táctica está a falhar no que toca à comunicação e à própria forma como se relacionam com as experiências diárias de pessoas que vivem além do binário. Através de questionários contextuais e entrevistas pessoais, tencionamos mergulhar na experiência de um mundo que, positiva ou negativamente, tenta perceber se o genderless é apenas uma tendência ou uma questão mais profunda.

Sintesi La era digital terminó legando notables avances tecnológicos y numerosos interrogantes relacionados con la evolución crítica entre las actividades productivas y la supervivencia del ser humano en el planeta Tierra. En un escenario donde la industria de la moda se considera uno de los actores relevantes, la moda postdigital emerge con originales estrategias de diseño y herramientas de fabricación originales que abren nuevas posibilidades para un desarrollo y sostenible. Para esbozar las direcciones futuras deseables, la investigación PostDigital Manufacturing Processes. Body Hacking for Productive Systems ha examinado cincuenta estudios de caso. En estos estudios de diseño seleccionados, el diseño computacional, la fabricación digital, los biomateriales y las tecnologías vestibles participan en el rediseño del papel de la moda y del concepto del cuerpo humano como un híbrido en la intersección entre el ámbito físico y el digital.

Abstract The Digital era ended bequeathing remarkable technological advancements and numerous queries related to the critical evolution between productive activities and the survival of human beings on planet Earth. In a scenario where the fashion industry is considered one of the relevant players, postdigital fashion emerge with interesting design strategies and fabrication tools that open up new possibilities for more equal and sustainable development. To outline desirable future directions, the research PostDigital Manufacturing Processes. Body Hacking for Productive Systems has examined fifty designer cases studies. In these selected design studios, computational design, wearable technologies, biomaterials, and virtual interfaces are involved in redesigning the fashion role and the whole concept of the human body as a hybrid in the intersection between physical and digital realms.

Resumen En el marco de la comunicación visual actual, se observa una proliferación de singulares prácticas cuya orientación estética está basada en la imperfección como ingrediente fundamental. En este contexto, la investigación busca revelar la presencia del error digital en el diseño gráfico contemporáneo, concretamente, mediante el análisis de dos líneas principales (cuya relación se trata de demostrar): por una parte, la cultura posdigital y dos de sus ramificaciones (el universo posinternet y la Nueva Estética), conceptos que sido estudiados casi exclusivamente desde el arte para explicar la invasión de motivos digitales y tecnológicos, la fusión de los mundos físico y virtual o un escenario definido por la progresiva pérdida de seducción por parte del Internet; y, por otro lado, el New Ugly, una ecléctica corriente de diseño gráfico que encuentra en la simulación amateur su principal rasgo diferencial. Mediante la revisión bibliográfica como método principal, apoyada en una muestra intencional, no probabilística, de imágenes de proyectos de diseño gráfico que procuran justificar el vínculo entre los anteriores enfoques, las conclusiones apuntan a una importante presencia del error digital en el diseño gráfico actual y a la conexión entre el New Ugly y la cultura posdigital mediante el glitch como eslabón estético.

Abstract The current landscape of visual communication observes an increasing number of peculiar practices whose aesthetic orientation is based on imperfection as the essential element. In this context, the research seeks to reveal the presence of error in contemporary graphic design, specifically, through the analysis of two main directions (whose relationship it tries to prove): on one hand, postdigital culture and two of its ramifications (the postinternet universe and the New Aesthetic), concepts that have been studied almost exclusively in the art field to describe the invasion of digital and technological elements, the fusion of the physical and virtual worlds or an environment defined by the progressive loss of seduction by Internet; and, on the other hand, the New Ugly, an eclectic graphic design movement based on the amateur simulation as its main differential feature. Through bibliographic review as the main method, supported by an intentional, non-probabilistic sampling of images belonging to graphic design projects to justify the relationship of the mentioned approaches, the conclusions refer to an important presence of digital error in the graphic design nowadays and the connection between New Ugly and postdigital culture through glitch as the aesthetic link.

Resumen Este artículo de reflexión explora las relaciones entre las categorías de hibridez, agencia, socialización, farmacón y decolonización en el marco de una época posdigital y una práctica educativa expandida. Las categorías emergieron después de un trabajo de campo realizado durante el 2016 en Platohedro, una iniciativa de la ciudad de Medellín, Colombia. La investigación tuvo un enfoque cualitativo, se apoyó en una versión constructivista de la teoríaada y uno de los objetivos era comprender la emergencia de algunas prácticas ciudadanas juveniles que usan de manera intensiva internet. Se cierra el artículo presentando algunas implicaciones educativas.

Abstract This reflection paper explores the relationship between the categories of hybridity, agency, socialization, pharmacon and decoloniality, within the framework of a post-digital era and an expanded educational practice. These categories emerged after a fieldwork developed in 2016 in Platohedro - an initiative from Medellín, Colombia. The research had a qualitative approach, based on a constructivist version of the grounded theory. One of its objectives was to comprehend the emergence of some juvenile practices of citizenship, which use Internet intensively. Some educational implications are presented at the end of the article.

Resumo Este artigo de reflexão explora as relações entre as categorias de hibridismo, agência, socialização, farmacon e descolonização no quadro de uma era pós-digital e uma prática educacional expandida. As categorias surgiram após um trabalho de campo realizado em 2016 no Platohedro, uma iniciativa da cidade de Medellín, Colômbia. A pesquisa teve uma abordagem qualitativa, baseou-se em uma versão construtivista da teoria fundamentada e um dos objetivos foi compreender o surgimento de algumas práticas de jovens cidadãos que usa; intensament; a Internet. O artigo apresenta algumas implicações educacionais no final.

Resumo: Este artigo apresenta uma análise da obra "Zoe: Actant" (2017) de Hugo Paquete. Contextualizo a sua obra como prática pós-digital. Através de tecnologias híbridas, a obra combina fenómenos intangíveis à perceção humana, tornando-os percetíveis através de um sistema autónomo e mediações tecnológicas. A obra explora sonoridades acusmáticas através do entrelaçamento de atuantes humanos e não-humanos. Paquete apresenta-nos assim outras maneiras de ouvir, ver e pensar o Real como rutura, espaço de tensão, e estética de glitch.

Abstract: This article presents an analysis of the work "Zoe: Actant" (2017) by Hugo Paquete. I contextualize his work as post-digital practice. With the use of hybrid technology, the work com-bines phenomena intangible to human percep-tion, rendering them perceptible through an autonomous system and technological mediations. The work explores acousmatic sonorities by the interweaving human and non-human actants. Paquete thereby presents us with other ways to listen, see and think about the Real as breaks, tension space, and glitch aesthetics.

Résumé L'éclosion métiathique de nos jours est un véritable défi pour l'exercice littéraire. Comprendre la littérature comme gestion du langage, de l'information et la communication permet de construire de nouvelles perspectives. Dans cet article nous proposons un parcours des quatre moments differenciés par l'évolution des modes de communication, qui s'est accelérée frénétiquement dans les dernières années. La littérature comme gestion de certaines dinamiques textuelles, la littérature comme gestion intermédiale, la littérature comme une scène élargie de la fiction étant donné l'amplitude des pratiques de la culture numérique et la littérature comme exercise post digital. Ce parcours, devient, à la fin, un espace qui peut-être traversé synchroniquement à partir d'une carte qui propose une cartographie conceptuelle et qui invite à un voyage d'exploration des transformations du paysage culturel de nos jours, de plus en plus complèxe et riche.

Resumen Entender la literatura como gestión del lenguaje, la información y la comunicación, abre perspectivas relevantes para asumir los retos que la eclosión mediática contemporánea le plantea a sus diversos ejercicios. Este artículo propone un recorrido que pasa por cuatro momentos diferenciados por la evolución de los modos de comunicación, que se ha acelerado casi frenéticamente en los últimos años. La literatura como gestión de ciertas dinámicas textuales, la literatura como gestión intermedial, la literatura como escenario expandido de la ficción dada la extensión de las prácticas de una cultura digital y la literatura como ejercicio post digital. Este recorrido se convierte, al final, en un espacio que se puede transitar sincrónicamente, gracias a un mapa que ofrece una cartografía conceptual que invita a un viaje de exploración por las transformaciones del paisaje cultural de hoy, cada vez más complejo y rico.

Abstract Understanding literature as language, information and communication management opens relevant perspectives with regards to the challenges posed by the contemporary media outbreak. This paper proposes a journey through four moments, differentiated by the evolution of communication modes and their frantic acceleration in recent years. Literature as management of certain textual dynamics; literature as intermedial management; literature as expanded scenario of fiction given the extent of digital culture practices, and literature as postdigital exercise. In the end, this tour becomes a space to be traveled synchronously, a map that offers a conceptual cartography inviting an exploratory journey through the transformations of today’s increasingly complex and rich cultural landscape.

In this article, some of the most important features and challenges of musical creation in the post-digital era are discussed, from the particular viewpoint of a composer. Three areas of musical creation are given special consideration: electroacoustic music, algorithmic composition and new interfaces for musical expression. This article presents both theoretical discussions and examples taken from the author's artistic production.

En el presente artículo se abordan algunos de los desafíos y características más relevantes de la creación musical en la era postdigital, desde el particular punto de vista de un compositor. Se otorga un especial énfasis a tres áreas al interior de la creación musical: la música electroacústica, la composición algorítmica y las nuevas interfaces de expresión musical. El artículo presenta tanto discusiones teóricas como ejemplos tomados de la producción artística de quien escribe.