The article examines the relationship between image and technique from the perspective of the current transformations generated by digitalization. These processes configure an algorithmic image that disrupts the perceptive and political parameters established since the linear perspective. The algorithmic image operates on its users and develops new forms of control and obfuscation. This image is a type of technical image that acquires a performative dimension capable of operating on its spectator-users. Spectators remains off-center because they cannot perceive the operations of which they are objects. The relations between the registers of the visible and the invisible are recomposed, from which a reduction of the real to what is presented on the screen is imposed. It is therefore necessary to explore new concepts and practices in order to understand the subjections and im-peratives that the new digital visuality establishes.

This work analyses the experimental uses of archive in two series of photographs of the artist Raúl Stolkiner (Res). These works sum up a state of the situation of argentine visual and audio-visual thought, both for the time when they were done –1984, the beginning of democracy after eight years of state terrorism, and 1996, the year that marks the introduction of the neo-liberal economy model– and the way of outlining the political dimension of the devices of vision from the inquiry of the epistemologic satute and its relation with historical memory. Considering the strong mark of technical reproduction on art, the question what is an image? turns to be particularly significant if we inscribe it in the scope of ethical decisions that define the position of a culture regardind its own past.

Violence is a central theme in Latin American art. From consecrated artists like Brazilian Rosângela Rennó, the Colombian Doris Salcedo or the Argentine Leon Ferrari, until newer generations, violence continues to be an inescapable subject. This article deals with how certain artistic practices evoke it away from the pursue of shock and explicitness by working with metaphors or subterfuges to denounce a violent past or present. The paper explores two new artists and two with a long career. Among those who belong to a newer generation, the article reviews the work of the Mexican photographer Clauzzia Gómez, and that of Adriana Corral, artist from El Paso, Texas. Among the internationally recognized artists, the paper focuses on the work Auras anón-imas (2007-2009) by Colombian Beatriz González, and reflects, as a counter-example of the figurative treatment of the violent, in the work of Mexican Teresa Margolles.

This article is a product of the research project “Expanded Bank of Digital Sounds of the Musical Instruments of Colombian Folklore, P142113”, carried out by Escuela Superior de Artes Débora Arango and Instituto Tecnológico Metropolitano, whose essential objective was the realization of a bank of virtual sounds of instruments and rhythms of traditional Colombian music that can be used by producers and musicians in different digital platforms of musical production in the generation of musical contents. In this project, the technical and sound qualities of the follow-ing instruments were recorded: “millo” flute, bagpipes, “chonta” marimba, accordion, “bandola” and “tiple”, using the most advanced techniques in the process of sound capture available today. As a result, high quality sound banks that can be used in any music production software were obtained. At the end of the research, a slight difference in tuning was found in some of the instruments with respect to the parameters of Western European music, a condition that generates some incompatibility with the tuning of commercial music. Thus, this article aims to encourage a discussion about the relational problems that occur with these instruments and their insertion in commercial music.

This article aims to demonstrate some research-creation processes that inquire into the concerns and dynamics related to the terms art and ethnography, which are an integral part of the methodological creation strategy for contemporary artistic practices addressed in a Master’s project, starting from of which I seek to raise awareness about the social problems that affect marginal society and the inhabitants of the city of Medellín. From various references and disciplines, such as sociology, ethnography, anthropology and microbiology, I will delve into the identification and collection of taxonomic objects, urban architecture and the space to inhabit, in the search for new aesthetic expressions whose integration allows to chart a path towards co-creation in contemporary artistic practices based on social issues and habitability in the street as an object of study. The installation as a work proposal, collects and creatively processes its vestiges, traces and traces of existence in these urban spaces, thus evidencing a research-creation result, is presented as the artistic device that allows dialogue between languages, symbols and dissimilar constructions of how street reality is lived in the city, especially from the perspective of those who inhabit it and dwell under the bridges and viaducts outside the Medellín River, in the downtown area of the city.

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