The evolution of contemporary art in a crisis context

[EN] In recent times, modern art has been nourished by the economic capital generated in a utopian welfare system that became unsustainable. A system where competitiveness is the business model of any company and where art acts like any other agent, to the sound that dollar marks. The aim of this work is to search all this structure of contemporary artistic world through the big+data as a methodological concept. It identifies and analyzes the actors that move the money of the art, from the celebration of big events to the organization of speculative investments, passing through the auction houses. Some of these are selected and named and a comparison is made with the new changing trends experienced as a result of the crisis. As conclusion, it is understood how, in turn, this world of art is beginning to change in a kind of attempt to return to its origins of more social purpose. Undoubtedly, an event of accelerated change also by the influence of new technologies of information and digital communication.[ES] En los últimos tiempos, el arte actual se ha estado nutriendo del capital económico generado en un sistema utópico del bienestar que se volvió insostenible. Un sistema donde la competitividad es el modelo de negocio de cualquier empresa y donde el arte actúa como cualquier otro agente más, al son que marca el dólar.Este trabajo tiene como objetivo escudriñar todo este entramado del mundo artístico contemporáneo a través del big data como concepto metodológico. Se identifican y analizan los actores que mueven el dinero del arte, desde la celebración de grandes eventos a la organización de inversiones especulativas, pasando por las casas de subastas. Se seleccionan y nombran algunos de éstos y se realiza una comparativa con las nuevas tendencias cambiantes experimentadas a raíz de la crisis.A modo de conclusión, se vislumbra cómo, a su vez, este mundo del arte está comenzando a cambiar en una especie de intento por volver a sus orígenes de finalidad más social. Sin duda, un evento de cambio acelerado también por la influencia de las nuevas tecnologías de la información y comunicación digital.Blanco-Barrera, R. (2017). La evolución del arte actual en un contexto de crisis. En Glocal [codificar, mediar, transformar, vivir] III Congreso Internacional de Investigación en Artes Visuales. Editorial Universitat Politècnica de València. 919-921. https://doi.org/10.4995/ANIAV.2017.5864OCS91992

Factors and elements of social change In digital art practices: keys to artistic integration with the current daily environment

Estructurada en base al trinomio Arte-Tecnología-Sociedad, nuestra investigación afronta cuestiones sobre cómo el arte actual, o las prácticas artísticas digitales, como formas de conocimiento, pueden contribuir en la mejora de las problemáticas sociales de cualquier tipo (desigualdad, insostenibilidad, injusticia, diferencias culturales, religiosas, políticas o económicas, entre otras) de una manera eficaz. Para ello, planteamos una nueva aproximación desde el sistema artístico a través de la elaboración de una serie de claves integradoras con nuestro entorno cotidiano y a partir del contexto actual de la Cultura Digital. Entre los hallazgos más relevantes, y mediante su puesta en práctica a través de la experimentación de obra artística propia, concluimos destacando que la divulgación y aplicación de estas claves comporta el fenómeno de un arte más democrático en cuanto a la participación de las personas y, por ende, contribuyen positivamente de una forma más real y sostenible al cambio social de las comunidades donde han sido aplicadas. No obstante, una validación más amplia de nuestro estudio residiría en su aplicabilidad a gran escala. Aunque hemos partido de un método hipotético-deductivo en la confección de la hipótesis que motivó el nacimiento y desarrollo de esta investigación, hemos priorizado mayoritariamente y de forma general la utilización, entre otros, del método lógico-inductivo, basándonos en todo el material teórico y audiovisual recopilado. Éste, en su mayoría, ha partido de fuentes seleccionadas en bases de datos de especial relevancia a partir de libros y artículos científicos de interés para nuestro objeto de estudio: principalmente de autores como Barbancho, Bauman, Bourriaud, Castells, Martín Prada, Palomero Páramo, Thornton, Laddaga o Helguera, entre otros; declaraciones y entrevistas realizadas a expertos: como Ai, Delgado o Valcárcel, entre otros; o estancias de investigación en centros especializados del extranjero: en instituciones de Argelia, Australia, Brasil, Canadá, Estados Unidos y Palestina. Pero también, a partir de la ejecución de estudios de campo mediante la producción de obra propia en Argelia, Brasil y Canadá; de estudios de caso sobre Güell, Hirst y link.art; o a partir del análisis de obras de artistas y colectivos: como Burguener, Carrasco, Kalash, Martens, Sierra, Sollfrank, Takala o Boa Mistura, entre otros.Structured based on the trinomial Art-Technology-Society, our research addresses questions about how current art, or digital art practices, as forms of knowledge, can contribute to the improvement of social problematics of any kind (inequality, unsustainability, injustice, cultural; religious; political or economic differences, among others) in an effective way. To do this, we propose a new approach from the artistic system through the development of a series of integrated keys with our daily environment and from the current context of Digital Culture. Among the most relevant findings, and through their implementation by the experimentation of our own artistic work, we conclude highlighting that the dissemination and application of these keys involves the phenomenon of a more democratic art in terms of people’s participation and, therefore, they contribute positively in a more real and sustainable way to the social change of the communities where they have been applied. However, a broader validation of our study would lie in its large-scale applicability. Although we have begun from a hypothetical-deductive method in the preparation of the hypothesis that motivated the birth and development of this research, we have mainly and generally prioritized the use, among others, of the logical-inductive method, based on all the theoretical and audio-visual material compiled. Most of this has been based on selected sources from databases of special relevance as of books and scientific articles of interest to our object of study: mainly from authors such as Barbancho, Bauman, Bourriaud, Castells, Martín Prada, Palomero Páramo, Thornton, Laddaga or Helguera, among others; statements and interviews with experts: such as Ai, Delgado or Valcárcel, among others; or research stays in specialized centres abroad: at institutions in Algeria, Australia, Brazil, Canada, the United States of America and Palestine. But also, from the execution of field studies through the production of own work in Algeria, Brazil and Canada; from case studies on Güell, Hirst and link.art; or from the analysis of artworks by artists and groups: such as Burguener, Carrasco, Kalash, Martens, Sierra, Sollfrank, Takala or Boa Mistura, among others

El caso de link.art: un espacio web alternativo dedicado al mundo del arte

Desde la inmersión de la sociedad en la Cultura Digital, el poder de la imagen se ha extendido de forma exponencial y el mundo del arte también se ha beneficiado por ello. Son muchas las plataformas online que han intentado ser el referente del interés por lo artístico en el mundo digital. Sin embargo, el propio sector del arte nunca ha llegado a sentirse especialmente identificado con ninguna de ellas, por lo que se percibe cierta ausencia de satisfacción general en este sector y por tanto una oportunidad de mercado interesante. Este trabajo describe el proyecto link.art, un prototipo futuro de red social abierta y democrática dirigido a todas las personas interesadas en el mundo del arte a través de un espacio web totalmente innovador y personalizable con el objetivo de comunicar, conectar, promocionar, publicitar, vender, comprar, invertir, financiar y contribuir al aprendizaje, mecenazgo e intercambio de obras de arte. A través de una metodología expositiva, se explicará este proyecto web, el cual aspira como conclusión a materializarse de forma piloto en un futuro no muy lejano a partir de una iniciativa emprendedora con la creación de una spin-off en la Universidad de Sevilla.Since the immersion of society in Digital Culture, the power of image has spread exponentially and the art world has also been benefited from it. There are many online platforms that have tried to be the reference of interest for the art field in the digital world. However, the art sector itself has never come to feel particularly identified with any of them, so there is a certain lack of general satisfaction in this sector and therefore an interesting market opportunity. This work describes the project link.art, a future prototype of open and democratic social network aimed at all people interested in the art world through a totally innovative and customizable web space with the goal of communicating, connecting, promoting, advertising, selling, buying, investing, financing and contributing to the learning, patronage and exchange of works of art. Through an expository methodology, this web project will be explained, which aspires as a conclusion to materialize in a pilot way in a close future by an entrepreneurial initiative with the creation of a spin-off at the University of Seville

Santiago Sierra y los sistemas colaborativos de trabajo

Este artículo re!exiona sobre los sistemas colaborativos de trabajo a través del análisis conceptual de algunas obras de Santiago Sierra (Madrid, 1966) que exploran sintáctica y semánticamente los límites entre las prácticas de creación participativa, el em-pleo y la explotación desde las contradiccio-nes y paradojas del sistema capitalista

Impartir docencia universitaria a través del arte como vía alternativa de conocimiento: un estudio de campo aplicado en la universidad de Sevilla

El objetivo de este trabajo se centra en revisitar y destacar el rol fundamental del Arte cuando se emplea como herramienta pedagógica transversal en todos los ámbitos del saber en el contexto sociocultural y tecnológico actual. Con este fin, muestra, de manera sintética y esquemática, la experiencia piloto que con dicho objetivo se llevó a cabo en el pasado curso académico 2015/2016 en el Instituto de Ciencias de la Educación de la Universidad de Sevilla. Dicha experiencia consistió en la impartición de un curso de diez horas dirigido a sus profesores, adscritos a cualquier área de conocimiento, y que llevó por título el mismo que adopta este trabajo. Desde una metodología expositiva-descriptiva, se explican los objetivos, contenidos, métodos didácticos, cronograma y resultados de la experiencia, intercalándolos con referencias de autores como Kagan, Bain, Mayer, Salovey y Egea, para complementar el discurso aportando perspectivas didácticas más actuales. Como sistema de evaluación del curso, se realizaron dos cuestionarios dirigidos a los participantes (docentes universitarios), uno en la parte inicial y otro en la parte final del curso. Según los resultados y como conclusión, se plasman las grandes posibilidades derivadas de esta forma de abordar el sistema de enseñanza-aprendizaje en la universidad, como la potenciación emocional de los estudiantes o la empatía generada entre profesor-alumno.The goal of this work is to revisit and highlight the main role of Art when it is used as a transversal pedagogical tool in all areas of knowledge in the current sociocultural and technological context. For this purpose, it shows, in a synthetic and schematic way, the first experience that was carried out in the past academic year 2015/2016 at the Institute of Educational Sciences of the University of Seville. This experience consisted in teaching a course of ten hours addressed to professors from any area of knowledge and that took by title the same one that adopts this paper. From an expository-descriptive methodology; goals, contents, didactic methods, timeline and results of the experience are explained, with references by authors such as Kagan, Bain, Mayer, Salovey and Egea, to complement the discourse by providing didactic perspectives more modern. As evaluation system of the course, two questionnaires were conducted to participants (university teachers), one in the initial part and the other one in the final part of the course. According to their results and as a conclusion, the great possibilities derived from this way of approaching the teaching-learning system in the university are captured, such as the emotional empowerment of students or the empathy generated between professor-student

Workshop "Art therapy for an art therapist"

"Art Therapy for an Art Therapist" was an experiential workshop presented at the 5thInternational Health Humanities Conference, Arts and Humanities for improving Social Inclusion, Education and Health: creative practice and mutuality – held in Seville (Spain), from September 15th to 17th, 2016. The main enquiry proposed to the audience was how to conduct an art therapy workshop for an art therapist. This key question addressed an important role in our teaching model, since it was designed to promote an autonomous and critical thinking among the participants to an almost Socratic style and to some more committed conjunctures according to Bain theory (2005: 118) and following the Experiential Learning (Kolb, Boyatzis & Mainemelis, 2000). The method used involved different phases and techniques, as a gymkhana or an art exhibition. The results pointed out the vision and thoughts of the ideal art therapists and the descriptions of the main capacities and abilities needed

Normothermic regional perfusion vs. super-rapid recovery in controlled donation after circulatory death liver transplantation

[Background & Aims] Although there is increasing interest in its use, definitive evidence demonstrating a benefit for postmortem normothermic regional perfusion (NRP) in controlled donation after circulatory death (cDCD) liver transplantation is lacking. The aim of this study was to compare results of cDCD liver transplants performed with postmortem NRP vs. super-rapid recovery (SRR), the current standard for cDCD.[Methods] This was an observational cohort study including all cDCD liver transplants performed in Spain between June 2012 and December 2016, with follow-up ending in December 2017. Each donor hospital determined whether organ recovery was performed using NRP or SRR. The propensity scores technique based on the inverse probability of treatment weighting (IPTW) was used to balance covariates across study groups; logistic and Cox regression models were used for binary and time-to-event outcomes.[Results] During the study period, there were 95 cDCD liver transplants performed with postmortem NRP and 117 with SRR. The median donor age was 56 years (interquartile range 45–65 years). After IPTW analysis, baseline covariates were balanced, with all absolute standardised differences <0.15. IPTW-adjusted risks were significantly improved among NRP livers for overall biliary complications (odds ratio 0.14; 95% CI 0.06–0.35, p <0.001), ischaemic type biliary lesions (odds ratio 0.11; 95% CI 0.02–0.57; p = 0.008), and graft loss (hazard ratio 0.39; 95% CI 0.20–0.78; p = 0.008).[Conclusions] The use of postmortem NRP in cDCD liver transplantation appears to reduce postoperative biliary complications, ischaemic type biliary lesions and graft loss, and allows for the transplantation of livers even from cDCD donors of advanced age.[Lay summary] This is a propensity-matched nationwide observational cohort study performed using livers recovered from donors undergoing cardiac arrest provoked by the intentional withdrawal of life support (controlled donation after circulatory death, cDCD). Approximately half of the livers were recovered after a period of postmortem in situ normothermic regional perfusion, which restored warm oxygenated blood to the abdominal organs, whereas the remainder were recovered after rapid preservation with a cold solution. The study results suggest that the use of postmortem normothermic regional perfusion helps reduce rates of post-transplant biliary complications and graft loss and allows for the successful transplantation of livers from older cDCD donors.Peer reviewe

Clonal chromosomal mosaicism and loss of chromosome Y in elderly men increase vulnerability for SARS-CoV-2

The pandemic caused by severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2, COVID-19) had an estimated overall case fatality ratio of 1.38% (pre-vaccination), being 53% higher in males and increasing exponentially with age. Among 9578 individuals diagnosed with COVID-19 in the SCOURGE study, we found 133 cases (1.42%) with detectable clonal mosaicism for chromosome alterations (mCA) and 226 males (5.08%) with acquired loss of chromosome Y (LOY). Individuals with clonal mosaic events (mCA and/or LOY) showed a 54% increase in the risk of COVID-19 lethality. LOY is associated with transcriptomic biomarkers of immune dysfunction, pro-coagulation activity and cardiovascular risk. Interferon-induced genes involved in the initial immune response to SARS-CoV-2 are also down-regulated in LOY. Thus, mCA and LOY underlie at least part of the sex-biased severity and mortality of COVID-19 in aging patients. Given its potential therapeutic and prognostic relevance, evaluation of clonal mosaicism should be implemented as biomarker of COVID-19 severity in elderly people. Among 9578 individuals diagnosed with COVID-19 in the SCOURGE study, individuals with clonal mosaic events (clonal mosaicism for chromosome alterations and/or loss of chromosome Y) showed an increased risk of COVID-19 lethality

Autoantibodies against type I IFNs in patients with life-threatening COVID-19

Interindividual clinical variability in the course of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) infection is vast. We report that at least 101 of 987 patients with life-threatening coronavirus disease 2019 (COVID-19) pneumonia had neutralizing immunoglobulin G (IgG) autoantibodies (auto-Abs) against interferon-w (IFN-w) (13 patients), against the 13 types of IFN-a (36), or against both (52) at the onset of critical disease; a few also had auto-Abs against the other three type I IFNs. The auto-Abs neutralize the ability of the corresponding type I IFNs to block SARS-CoV-2 infection in vitro. These auto-Abs were not found in 663 individuals with asymptomatic or mild SARS-CoV-2 infection and were present in only 4 of 1227 healthy individuals. Patients with auto-Abs were aged 25 to 87 years and 95 of the 101 were men. A B cell autoimmune phenocopy of inborn errors of type I IFN immunity accounts for life-threatening COVID-19 pneumonia in at least 2.6% of women and 12.5% of men