Keywords
Art, critical thinking, political theory, new media, audiovisual activism, audiovisual art, protest movements, audiovisual creation
Abstract
The relationship between signs and human action is one of the most widely studied theories in art and communications. Humans are constantly producing new discourse and new discursive devices and the issue of the relationship between signs / action not only remains open, but is branching off and forming hybrids with other matters. This work explores one of its branches. We performed theoretical research on the foundations of video artivism, with the aim of achieving a conceptual definition. Firstly, the purpose of the study is defined and the historical background and basic sources of influence described in order to trace a map of its fields of application in teaching practices and empirical research. The results therefore come from a bibliographic review of academic as well as artistic and activist sources, which were based on sections of the differentiating features they respectively recognize and self-recognize as artivist. Six identified features are described: the intervention function, the hybrid code, against domination, disruption, disavowal and subversion, which are aimed at establishing processes, procedures, subjects and the specific forms in which artivism has an impact on society. The article also refers to selected cases as a conceptual sample of the theoretical assumptions made and to describe their capacity of transformation.
References
Aznar-Almazan, Y., & Iñigo-Calvo, M. (2007). Arte, política y activismo. Concinnitas, 1(10), 65-77. https://goo.gl/qX68fn
Bourdieu, P. (2008). ¿Qué significa hablar? Economía de los intercambios lingüísticos. Madrid: Akal.
Bourriaud, N. (2008). Estética relacional. Buenos Aires: Adriana Hidalgo.
Boyd, A., & Mitchell, D. (2012). Beautiful trouble. A toolbox for revolution. New York / London: OR Books.
Castells, M. (2007). Communication, Power and counter. Power in the network society. International Journal of Communication, 1, 238-266. https://bit.ly/1a1x2Cz
Chéroux, C. (2013). ¿Qué hemos visto del 11 de septiembre? In G. Didi-Huberman, C. Chéroux, & J. Arnaldo (Eds.), Cuando las imágenes tocan lo real (pp. 37-68). Madrid: Círculo de Bellas Artes.
Link DOI | Link Google Scholar
Delgado, M. (2013). Artivismo y pospolítica. Sobre estetización de las luchas sociales en contextos urbanos. Quaderns-e, 18(2), 68-80. https://bit.ly/2rCNCKZ
DoleŽel, L. (1999). Estudios de poética y teoría de la ficción. Murcia: Universidad de Murcia.
Fontcuberta, J. (2011). Por un manifiesto postfotográfico. La Vanguardia, 2011-05-11. https://bit.ly/1wDvr1R
Foucault, M. (1980). Microfísica del poder. Madrid: La Piqueta.
Galt, R., & Schoonover, K. (2010). Global art cinema: Nee theories and histories. Oxford: Oxford University Press.
Garcia-Andujar, D. (2009). Reflexiones de cambio desde la práctica artística. In J. Carrión, & L. Sandoval (Eds.), Infraestructuras emergentes (pp.100-103). Valencia: Barra Diagonal.
Garcia-Martínez, A.N. (2006). La traición de las imágenes. Mecanismos y estrategias retóricas de la falsificación audiovisual. Zer, 22, 301-322. https://bit.ly/2IE0cA2
Gombrich, E.H. (2003). Los usos de las imágenes. Estudios sobre la función social del arte y la comunicación visual. Barcelona: Debate.
Gonzalez-Requena, J. (2003). Teoría de la verdad. Trama y Fondo, 14, 75-94. https://bit.ly/2jf8fJ8
Gordo, A.J., & Serrano, A. (Coords.) (2008). Estrategias y prácticas cualitativas de investigación social. Madrid: Pearson-Prentice Hall.
Goris, Y. (2017). Activism, artivism and beyond. Inspiring initiatives of civic power. Amsterdam: Partos.
Jordan, J. (2017). Artivism. Injecting imagination into degrowth. [blog, 2017-01-17]. https://bit.ly/2kdUKti
Kuhn, T.S. (1975). La estructura de las revoluciones científicas. México: Fondo de Cultura Económica.
Laddaga, R. (2006). Estética de la emergencia. La formación de otra cultura de las artes. Buenos Aires: Adriana Hidalgo.
Link DOI | Link Google Scholar
Linares, A. (1976). Cine militante. Madrid: Castellote.
Lister, M. (2018). 37 staggering video marketing statistics for 2018. Worldstream. [blog, 2018-05-01]. https://bit.ly/2ki7ZJD
Marti-Font, J.M. (2014). Román Gubern: La iconosfera es tan densa y abundante que hace invisibles las imágenes. El Periódico, 2014-07-06. https://bit.ly/2kb9s48
Mateos, C. & Sedeño, A. (2015). Videoactivismo y autoría colectiva. In D. Montero & F. Sierra (Eds.), Videoactivismo y movimientos sociales. Teoría y praxis de las multitudes conectadas (pp. 298-331). Barcelona: Gedisa/CIESPAL.
Mateos, C. (2013). La narrativa audiovisual informativa: Transmediación, hibridación y nuevos retos para los medios online. In V. Guarinos-Galán, & A. Sedeño-Valdellós (Coords.), Narrativas audiovisuales digitales. Convergencia de medios, multiculturalidad y transmedia (pp. 71-114). Madrid: Fragua.
Mateos, C., & Rajas, M. (2014). Videoactivismo: concepto y rasgos. In G. Bustos, M. Camuñas, P. De-la-Fuente, M. Galán, L. Lanchares, C. Mateos, … R. Salillas (2014), Videoactivismo, acción política cámara en mano (pp. 15-56). La Laguna: SLCS.
Mercy Corps (Ed.) (2018). Art & activism [Blog]. https://bit.ly/2kfeQmS
Nietzsche, F., & Vaihinger, H. (1990). Sobre verdad y mentira. Madrid: Tecnos.
Ortega-Centella, V. (2015). El artivismo como acción estratégica de nuevas narrativas artístico-políticas. Calle14, 10(15), 100-111. https://bit.ly/2k9WRy6
O´Guinn, T., Allen, C., Close Scheinbaum, A., & Semenik, R.J. (2015). Advertising and integrated brand promotion. Boston: Cengage.
Reinsborough, P., & Canning, D. (2010). Re:Imagining change. How to use story based strategy to win campaigns, build movements, and change the world. Oakland: PM Press.
Ruiz-Olabuenaga, J.I. (2012). Teoría y práctica de la investigación cualitativa. Bilbao: Universidad de Deusto.
Stangos, N. (2006). Conceptos del arte moderno. Madrid: Alianza.
The Trapese Collective (2007). Do it yourself: A handbook for changing our world. London: Pluto Press.
Toole, M.J. (2000). Enfermedades transmisibles y su control. In E. Noji, & K. Eric (Eds.), Impacto de los desastres en la salud pública (pp. 79-100). Bogotá: Organización Panamericana de Salud.
Verson, J. (2007). Why We Need Cultural Activism. In The Trapese Collective (Eds.), Do it yourself: A handbook for changing our world (pp. 171-186). London: Pluto Press.
Fundref
This work has no financial support
Technical information
Received: 28-02-2018
Revised: 12-04-2018
Accepted: 18-05-2018
OnlineFirst: 15-07-2018
Publication date: 01-10-2018
Article revision time: 42 days | Average time revision issue 57: 38 days
Article acceptance time: 78 days | Average time of acceptance issue 57: 76 days
Preprint editing time: 169 days | Average editing time preprint issue 57: 177 days
Article editing time: 214 days | Average editing time issue 57: 222 days
Metrics
Metrics of this article
Views: 29771
Abstract readings: 27132
PDF downloads: 2639
Full metrics of Comunicar 57
Views: 260458
Abstract readings: 209651
PDF downloads: 50807
Cited by
Cites in Web of Science
Arauna, Nuria; Quilez, Laia;. Feminist practices in contemporary Spanish documentary cinema. Reflections under the analysis of La casa de mi padre (Francina Verdes, 2014) and Mater Amatisima (Maria Ruido, 2018) ARTE INDIVIDUO Y SOCIEDAD , 2021.
https://doi.org/10.5209/aris.67516
Suing, Abel; Carpio Jimenez, Lilia; . Aesthetics and audiovisual narrative of the catholic youtubers QUESTION, 2020.
https://doi.org/10.24215/16696581e464
Ordonez, K; Davila, F; (...); Gonzalez, V. The challenges of Ecuadorian audiovisual production vs. Netflix's offerings PROCEEDINGS OF 2021 16TH IBERIAN CONFERENCE ON INFORMATION SYSTEMS AND TECHNOLOGIES (CISTI'2021), 2021.
Cites in Scopus
Araüna, N., Quílez, L. . Feminist practices in contemporary Spanish documentary cinema. Reflections under the analysis of La casa de mi padre (Francina Verdés, 2014) and Mater Amatísima (María Ruido, 2018) | [Prácticas feministas en el cine documental español contemporáneo. Reflexiones a partir del análisis de La casa de mi padre (Francina Verdés, 2014) y Mater Amatísima (María Ruido, 2018)]), Arte, Individuo y Sociedad, .
https://doi.org/10.5209/ARIS.67516
Presley, R. . Embodied Liminality and Gendered State Violence: Artivist Expressions in the MMIW Movement), Journal of International Women's Studies, .
Ramírez-Hurtado, C., Massó-Guijarro, B.. Raptivism on YouTube: Studying the Response of Videoart Prosumers to School Bullying in Spain), Pedagogika, .
https://doi.org/10.15823/p.2021.143.7
Ordonez, K., Davila, F., Suing, A., Gonzalez, V. . The challenges of Ecuadorian audiovisual production vs. Netflix's offeringsd), Iberian Conference on Information Systems and Technologies, CISTI, .
https://doi.org/10.23919/CISTI52073.2021.9476256
Barahona-Henry, E., Paz-Delgado, C.L., Giner-Gomis, A.V. . Implementing the Methodological Script as a University Curricular Experience for the Development of Teamwork Competence ), Revista Electronica Educare, .
Cites in Google Scholar
Presley, R. (2020). Embodied Liminality and Gendered State Violence: Artivist Expressions in the MMIW Movement. Journal of International Women's Studies, 21(7), 91-109.
https://vc.bridgew.edu/jiws/vol21/iss7/8/
Marija Milanović, S. (2019). АРТИВИЗАМ И СУБВЕРЗИВНО ДЕЛОВАЊЕ КАО СТРАТЕГИЈА ОТПОРА РОДНОЈ ДИСКРИМИНАЦИЈИ. Српска политичка мисао, 1(3/Spec), 125-138.
https://www.ceeol.com/search/article-detail?id=878904
Araüna, N., & Quílez, L. Prácticas feministas en el cine documental español contemporáneo.: Reflexiones a partir del análisis de La casa de mi padre (Francina Verdés, 2014) y Mater Amatísima (María Ruido, 2018). Arte, individuo y sociedad, 33(1), 105-119.
https://revistas.ucm.es/index.php/ARIS/article/download/67516/4564456554937
Quílez, L., & Arauna, N. (2021). Prácticas feministas en el cine documental español contemporáneo. Reflexiones a partir del análisis de La casa de mi padre (Francina Verdés, 2014) y Mater Amatísima (María Ruido, 2018). Arte, Individuo y Sociedad, 33(1), 15.
Alternative metrics
How to cite
Mateos, C., & Sedeño, A. (2018). Video artivism: The poetics of symbolic conflict. [Videoartivismo: Poética del conflicto simbólico]. Comunicar, 57, 49-58. https://doi.org/10.3916/C57-2018-05