Doctorado en Estudios Artísticos
URI permanente para esta colecciónhttp://hdl.handle.net/11349/34678
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Ítem La performance: una ruta de investigación-creación para habitar la escuela desde las “intersensibilidades performativas” de niñas y niños(Universidad Distrital Francisco José de Caldas) Suárez García, Sandra Cecilia; Castillo Ballén , Sonia; Castillo Ballén, Sonia [0000-0001-7044-1889]Applied Research-Creation Project (ICA) of a transdisciplinary nature, developed within the framework of the Doctorate in Artistic Studies at the Francisco José de Caldas District University, in its line of research in Critical Studies of Corporealities, Sensitivities, and Performativities (LECCSP). This project is supported by genealogical and performative actions that seek to answer the following question: How can the performative practice of catharsis contribute to processing the experiences of mistreatment and violence in the bodies of migrant children in the Laureano Gómez IED school? The thesis is developed within the framework of the TransMigrARTS (TMG) project, jointly supervised with the Jean Jaurès University, as part of its Doctorate in Arts and Art Sciences. Here, the ICA is established as a research practice proposed by Master Monique Martínez, which, from a socio-situated axis, contributes to providing solutions in specific contexts.Ítem Narración gráfica, laboratorio de objetos, cartografía digital y mediaciones en experiencias con comunidades de artistas migrantes(Universidad Distrital Francisco José de Caldas) Pinzón Lizarazo, Oscar Daniel; Castillo Ballén, Sonia; Martínez Thomas, Monique; Castillo Ballén, Sonia [0000-0001-7044-1889]; Martínez Thomas, Monique [0000-0001-6125-3907]; Pinzón Lizarazo, Oscar Daniel [0000-0003-2485-1902]The thesis titled Graphic Storytelling object laboratory, digital mapping and mediations in experiences with communities of migrant artists, explores how graphic storytelling can communicate negative experiences and representations of migrants, which are often invisible and silenced. explores how graphic storytelling can communicate migrants' negative experiences and representations, often rendered invisible and silenced. Through a long-term creative laboratory and a collaborative workshop with migrant communities in Bogotá and Valledupar conducted during and after the COVID-19 pandemic, visual methodologies such as drawing, photography, printmaking and mapping were used, offering a space for deep expression of migrants' experiences. The research focuses on how Graphic Storytelling can transform these negative representations, adopting a methodological approach of research-creation, which is articulated in dialogue with two perspectives: the re Creation researcher of the ECCSP research line of the Doctoral Program in Artistic Studies, and the Applied Research Creation (ICA) of the TransMigrARTS Project. The study engaged with collectives such as Trazos y Bordes, created from this experience, and the Women's Juntanza from Cesar, which facilitated the process's application in Valledupar's Casa Caribe Afirmativo, in this place the experiences face precariousness and social rejection, especially in women and LGBTIQ+ people. The methodology was structured in five phases: (1) a genealogy of the researcher's previous experience, making visible the vulnerabilities and his own condition as a grandchild of families formed by migrants in Colombia, in addition to the identification of fundamental components in the experience with the graphic narration that allowed migrants to express what they cannot say verbally: their fears, uprooting, fears and longings. (2) the encounter between recurrences to strengthen the theoretical framework of graphic narration, differentiating between narration (Storytelling) and narrative, and exploring the visual, textual and contextual components; (3) the application of the “image-text-context” tool in the process carried out with the Trazos y Bordes collective, where the narrative of the experience emerges as a recurring theme of this process and complements the tool, giving way to NarratoGraphy; (4) the application of the “image-text-context” tool in the process carried out with the Trazos y Bordes collective, where the narrative of the experience emerges as a recurring theme of this process and complements the tool, giving way to NarratoGraphy. (4) for the TransMigrARTS workshop in Valledupar, this tool, NarratoGrafía in Imagen-Texto-Contexto-Vivencia, was applied, where the themes of uprooting and exclusion were analyzed; experiences where, in addition, negative characters that hinder the migratory process were discovered, such as coyotes, trocheros, extortionists and merchants that take advantage of the migrants, thus revealing hidden theatricalities of migration; and (5) the consolidation of theoretical and graphic findings obtained throughout the research, presents the contributions on the effectiveness of NarratoGraphy as an artistic and social methodology as it is a Applied research creation tool to value the unspeakable in these two experiences developed with migrants marked by the post-agreement contexts, the exodus of Venezuelan migrants to Colombia in the context of the COVID-19 pandemic.Ítem La novela de crímenes colombiana contemporánea y la problemática del sujeto culturalCabra Hernández, Jhon Érick; Romero Rey, SandroThis research-creation project, titled The Contemporary Colombian Crime Novel and the Problem of the Cultural Subject, proposes a sociocritical reading of a corpus of novels published between 2001 and 2021. Its aim is to analyze how these literary fictions construct representations of violence, impunity, and anomie in Colombian society. Through an interdisciplinary methodology that brings together literary, cultural, and artistic approaches, this dissertation examines how these works build narrative memories and give voice to subaltern subjects historically marginalized by official discourse (intrahistory). The main hypothesis that this dissertation explores is that the Colombian crime novel diverges from the classical detective story and traditional noir fiction genre because it does not seek the restoration of order or the resolution of a crime, but rather exposes the absence of justice and the fragmentation of the state’s normative apparatus, where impunity becomes the law. Thus, crime is not a mystery to be solved but a structural manifestation of an anomic society. The category of “anomie,” borrowed from sociological research by Gustavo Forero Quintero, becomes a key axis for understanding the specificity of this narrative form in the Colombian context. This research-creation endeavor builds on the concepts of ideosema, ideologeme, and cultural subject, developed by Edmond Cros, to analyze how social and ideological practices are transcribed into the formal structures of the novels. Through an approach that accentuates textual morphogenesis, this study explores how literary discourse semiotically transforms referential reality, revealing the ideological traces underlying the construction of characters, narrative voices, and literary memory methods. The corpus that was analyzed encompasses eight novels that fictionalize key historical events from the perspective of marginalized subjects, configuring an intrahistorical narrative—a category proposed by Miguel de Unamuno and revisited by Luz Marina Rivas—that challenges hegemonic versions of national history. These works are: Satanás (2002), by Mario Mendoza El Eskimal y la mariposa (2004), by Nahum Montt El crimen del siglo (2006), by Miguel Torres Los ejércitos (2007), by Evelio Rosero Desaparición (2012), by Gustavo Forero Quintero El incendio de abril (2012), by Miguel Torres La invención del pasado (2016), by Miguel Torres La sombra de Orión (2021), by Pablo Montoya Campuzano These novels address events such as El Bogotazo, the Palace of Justice siege, the Bojayá massacre, and Operation Orión, among others, from a perspective that elevates the voices of the subaltern, the forgotten, the violated bodies, and the marginalized. In these narratives, criminality is not merely a narrative theme but the representation of the structural and systemic modus operandi of a society that has normalized violence as a way of life. Impunity, the absence of justice, and institutional decay become, therefore, recurring themes that allow for a critical reflection on the country’s recent history. Beyond critical analysis, this dissertation also constitutes a poetic wager in its very form of writing. Its fragmentary structure, the use of the essay as a literary form, and the inclusion of fictional exordia, epistolary essays, and personal reflections reveal a constant dialogue between the poetic and the theoretical. Criticism becomes creation and writing becomes an act of aesthetic resistance. Hence, this dissertation not only studies literature as a form of knowledge but also positions itself as a literary practice that explores, through sensitivity and imagination, the limits of language, memory, and subjectivity. Therefore, this study stands at the verge between academic research and literary creation as well as between criticism and autofiction. The voice of the researcher interweaves with that of the narrator, and it is there that analysis becomes a way of narrating thought. The hybrid structure of the study responds to an expanded conception of knowledge, in which literature is not only an object of study but also a method and a form of involvement in the world. The dissertation, hence, becomes a space of border thinking, where critical writing opens itself to formal experimentation and the exploration of new ways of saying and telling. From this perspective, the essay becomes a crucial tool for thinking literature through literature itself. Inspired by authors such as Roland Barthes, Walter Benjamin, Maurice Blanchot, and Roberto Bolaño, the text embraces the risk of a writing that does not seek to close meanings but to open them. Reading becomes an act of creation and criticism a way of life. The dissertation, then, not only analyzes novels that narrate crime but also questions the very conditions of possibility for narrating in a country where violence has been systematically marginalized or aestheticized. Lastly, this work proposes that the contemporary Colombian crime novel not only documents criminality and corruption but also acts as an aesthetic-political method that allows us to think about the country through its fractures, its marginalizations, and its absent voices. In a country where impunity is the rule, literature becomes a sensitive archive of collective memory, a space of symbolic resistance, and a form of narrative justice. As such, this dissertation is an invitation to read critically, to write consciously, and to imagine other ways of inhabiting language and history.Ítem Tránsitos del grabado: encuentros y tensiones entre enseñanza-aprendizaje, práctica de creación artística y escenarios de circulación, en cuatro proyectos de creación colectiva del área de grabado de APV-ASAB-UDFJC realizados entre 2006-2017(Universidad Distrital Francisco José de Caldas) Shambo González, Ferney; Lambuley Alférez, Edgar RicardoThis research-creation explores the field of graphics in the university context, examining the interaction between the pedagogical processes of engraving, artistic practice and circulation circuits in four projects: “Tránsito entre medios” (2006), “Gráfica en paralelo” (2008), “Poéticas de la estampa” (2014) y “El mundo es un pañuelo” (2017). The study establishes three central components: Teaching-learning, the practice of artistic creation and the circulation scenarios for engraving, it also identifies five transversal categories: the vital affection for engraving, reflective praxis, the figure of the artist. teaching, collective creation and transitory communities, which offer an experiential and academic immersion for study. Through a methodological route that includes: a “double look” - as a participant and as an observer - on the analyzed projects, the writing of chronicles for each of them, and a commitment to collective graphic creation - as part of the research-, an own research-creation model is established, in which critical interpellation from its components and categories, and the documentary review of Syllabus and catalogs with teachers and students, allow establishing the analysis of the study, giving meaning to the duo research-creation. “Transits of engraving” contributes with its collective proposals to student professional development, to the artistic field and circulation of graphics, and to the field of teaching-learning by proposing an alternative pedagogical model that links university practices with the external cultural context.Ítem El hacer artístico translocado : danza, cuerpo, migración y empoderamiento de mujeres(Universidad Distrital Francisco José de Caldas) Vallim de Melo, Aline; García Schlegel, María Teresa; Martinez Thomas, Monique; García Schlegel, María Teresa [0000-0002-0744-7011]; García Barreto, Germán Alberto (Catalogador)This thesis aims to investigate how dance practice can operate as a mobilizing action to silence and change the self-image of migrant women. Based on the methodology of research based on artistic practice and the understanding of dance as an emancipatory creative project, the central hypothesis of this work is that the migrant condition can function as a creative strategy when and if treated from its ethical, situated and collaborative dimensions. To this end, it was necessary to investigate artistic practices and tools from a situated and collaborative application study with communities of migrant women from different geographies. Through artistic residencies and artistic workshops, a rigorous work was proposed with life stories, different ways of seeing and perceiving, writing capacities with the body/movement, improvisation as sensitive forms of knowledge production. As a result of these encounters, Translocar was systematized: a methodological proposal that is woven from the encounter between women, places, interculturalities and displacements. The objective was not to propose a ready-made and replicable methodology as a model, but rather to contribute and make visible artistic skills and devices that can expand the ways of problematizing and valuing the life experiences of migrant women, with the aim of transforming the vulnerabilities historically directed at them. Finally, this thesis, organized in four chapters, aims to contribute to the advancement of practical and theoretical reflections derived from the triangulation between dance, gender and migration, with the intention of strengthening epistemic, ethical and politically the field of Artistic Studies and the field of Applied Research-Creation. It is an attempt to dismantle the rigid boundaries of what is hegemonically understood as Art, proposing horizontal and interdisciplinary dialogues in the search for answers to a concrete social problem for the improvement of social life.Ítem Sonidos, alquimia y devenir(Universidad Distrital Francisco José de Caldas) Lambuley Alférez , Néstor; Gómez Moreno , Pedro Pablo; Gómez Moreno, Pedro Pablo [0000-0002-9651-7682]What prompted this research/creation had to do with incorporating the different musical practices I have experienced in my life and also motivated the formulation of this research/creation into this doctoral program: Sounds, alchemy, and becoming. This research/creation work channels my experience into a series of creative acts that contribute to the decolonization of sounds from a micro-political perspective that is linked to feelings and affections in order to encourage listening to what has not been heard and to make the inaudible audible. To carry out this purpose, the goal of this work consisted of creating a sonorous event that would combine the oriental practices of the alchemy of sound with the regional music related to the water cultures of the Caribbean and the Colombian Pacific along with the experimental eco-acoustic soundscape of the Bogota River.This thesis gathers the sonoesthesis as a conceptual and creative contribution that, as a decolonizing sound practice, supports other ways of relating to the sound and live music of our environment and thus generate a different way to name the practices of sound/vital/energetic. Key words: decolonization, alchemy, water route, water music, Colombian regional music, sound minga, sonoesthesis.Ítem Pantallas de la liberación : las tecnologías lugarizadas de la América profunda(Universidad Distrital Francisco José de Caldas.) Aguilar Gómez, Diego Andrés; Gómez Moreno, Pedro PabloThis thesis conducts a critical and transdisciplinary exploration of local contemporary technologies, with a particular focus on rethinking the role and connection of screens in the context of Latin America and specifically Colombia. Technology, especially in its Western and modern form, has led to a standardization of devices and a uniformity in their use, resulting in the marginalization of other forms of knowledge and practices. This uniformity is evident in the "beautiful screens" of modernity, which, despite their aesthetic appeal, hide a power and knowledge structure that perpetuates coloniality and a Eurocentric worldview. The central proposal is the introduction of an alternative concept of screen, named "liberation screens," aimed at freeing practices and thoughts from the constraints imposed by Western technology. These screens are not only different in terms of design and aesthetics but also promote a deeper connection with the land, fostering vital and disruptive discourses. The objective is to create technologies that truly connect across lands, transcending culture, epistemology, and the spiritualities of Deep America, enabling a more inclusive and liberating technological praxis. The questions address the "coloniality of aesthetics" and the "coloniality of gaze," explaining how Western technologies and practices have dominated and marginalized other forms of expression and knowledge. In response, a "localized technology response" is proposed, involving the development of technologies that respect and reflect the cultural, aesthetic, and epistemological particularities of different regions of our Deep America. This approach challenges Western technological hegemony and seeks to reaffirm identities and cultural practices historically marginalized. The methodology adopted is both epistemological and practical, including visits to sites with screens of media archeologies in Colombia, such as the Serranía de la Lindosa and the Fuente del Lavapatas, as well as intensive work at the C.I. Hologramas holography factory. These examples illustrate how cultural, artistic, and social aspects can be integrated into technology, creating screens that are not just technological tools but also platforms for cultural expression and critical thinking. Furthermore, examples of lithic screens and Brazilian holopoems demonstrate how technology can be a powerful medium for cultural resistance and the expression of creation, and how it can contribute to a better understanding of culture with scientific knowledge and spiritual affections. The proposal advocates a radical new way of understanding and using screens as connective, material, corporeal, and epistemic thresholds from local initiatives. By rejecting the uniformity and homogeneity imposed by Western modernity and embracing a plurality of voices and perspectives, "liberation screens" and localized technology emerge as key tools for a more inclusive, diverse, and genuinely liberating future. This approach not only challenges the technological status quo but also opens new possibilities for technological development in Latin America, fostering a deeper and more respectful understanding of human plurality and its connection with a diverse world of cultures and knowledge.Ítem Políticas sentimentales. Analítica de la musealización del conflicto armado en Colombia.Vargas Martínez, Sonia; Gómez Moreno , Pedro Pablo; Gómez Moreno, Pedro Pablo [0000-0002-9651-7682]; Vargas Martínez, Sonia Patricia [0000-0002-9877-6370]This creative research takes as reference the so-called memory boom, or Memorial Turn, a global and national need (and even obsession) for the consignment or storage of cultural memory (Huyssen 2002, Guash, 2014). Which for a few decades has activated numerous artistic exhibitions internationally, being increasingly recurrent in Latin American countries, as a strategy to revisit the past, given the multiple situations of political violence, military dictatorships, armed conflicts, among other events. Colombia has participated in this scenario for more than a decade, with multiple artistic exhibitions on the memory of the armed conflict, today in ferment after the signing of the Peace Agreements (2016) signed by the Colombian Government, under the presidency of Juan Manuel Santos. and the guerrilla Revolutionary Armed Forces of Colombia-FARC-EP People's Army, whose intention is to contribute to the visibility of the victimized people in the context of the conflict as well as contribute to the construction of a new image of the nation. I analyze two exhibitions in which memory is museumized: The Memory and Nation Room of the National Museum and Fragments, Art and Memory Space, by the Colombian artist Doris Salcedo. The purpose is to problematize musealization, which in both cases is configured as a visibility device (a way of showing and representing the victims and the armed conflict), and as an affective machine (that makes possible the production, circulation and consumption of affections, to challenge their visitors) that work together in the construction of a national moral contract. I propose that both exhibitions operate as a series of selective, visual, discursive, rhetorical, corporal, affective, political and moral practices, which center the presence of the visual for the construction of a new visual/sentimental narrative of the nation aimed at reproducing the culture of peace and reconciliation for the country. Through an analysis of musealization I examine the articulation between its institutions, practices, techniques and discourses. Center the experiences of its visitors on visits scheduled by the museum's educational area. I highlight the narratives of the inclusion of otherness and pain/healing on the victims, respectively, and point out how the moral economies and sentimental rhetorics, in each one, make invisible the governmentality of the emotions arranged there, as a way of operating. of power outside the ideological apparatuses of the State and as neoliberal technologies of current governments that work on the modeling of affects.Ítem Prácticas del fracaso: Lugar de indisciplinamiento y contraacademiaCáceres Jaramillo, Juan Fernando; Romero Rey, Sandro; Romero Rey, Sandro [0009-0009-4968-7011]In summary, I present before you one of the products that are part of the Practices of Failure project. Proposed as a thesis, but better conceived as one more chapter of the maladresian universe, Practices of Failure: Place of Indiscipline and Counter-Academy collects in a creative writing exercise the reflection and analysis around the work and legacy of the Famous Clown Maladrés, putting it into dialogue his academic and performative practice with different authors and with the experience that his fracasantes have had within the chair. The analysis carried out on this laboratory is crossed by aspects such as indiscipline, failure as a trigger for creation, the role of research/creation in the scientific/academic context, the construction of methodological alternatives and modes of doing for the understanding of the environment, the relevance of the artist as an agent that impacts his context, teacher/student relationships, art as a form of knowledge production, the poetic doing of education, the a(puesta) in vulnerability , the opening of thresholds where reality and fiction are connected, the analysis of discourse as an artistic practice that configures a plastic and dramaturgical proposal, the formation of collaborative creation spaces that dissolve the category of author, the body as a place of limits and powers, among others. These elements support a kind of “paradoxical relevance”, since the Practices of Failure have served as a Trojan Horse within the academic platform that they themselves question.