Editorial
The Universidad Nacional de Colombia, with its nine campuses across the country, from the Inter-campuses Colegiate
Meetings that took place in 2018 — the results of which were channeled into the Global Development Plan 2021—,
propose, among other basic tasks, to continue with the university's national strengthening and vocation towards
local and regional integration and development. Thus, the multi-campus model is redefined to generate communication
and research technological networks among campuses, activate ideas aimed at innovating shared knowledge, promote a
collective identity from the participation of different processes and actors, from a multi-campus to an inter-campus
model.
In line with the above, Actio is at the avant-garde in the editorial field, for it is the university's first
and only inter-campus journal. It thus occupies a leading position, not only regarding the editorial proposal
itself, but in the way of working that brings together the efforts and resources from several campuses without
administrative barriers. This fact becomes more evident this year, when a supporting editor, Professor Augusto
Solórzano Ariza, industrial designer, master in Plastic Arts, P.H. D. from the Faculty of Architecture, Medellín
Campus, shall be co-director of the design area. Likewise, the editorial team shall include, as co-direct in the
filmic arts area, Professor Luis Fernando Medina, systems engineer, P.H. D in Media Arts and Sciences, from the
School of Cinematography and Television, Faculty of Arts, Bogotá Campus.
In a volatile, uncertain, complex and ambiguous world (VUCA) there is an increasing need for systemic and
trans-disciplinary approaches that leave behind traditional compartments, create dialogues and design strategies for
deep understanding and explanation leading to new and complex ways of seeing, thinking and acting. In this sense,
Actio's approach contributes to the change towards a positive VUCA, that is, towards vision,
understanding, clarity and agility, by promoting open science, shared direction and de-centralized management, all
of which make possible the publication of contributions on design technologies, filmic arts and visual
communication. The above is ratified by this Journal's adherence to the Manifesto on Journal's Evaluation in
Latin America, proposed by the Asociación Latinoamericana de Editores Científicos - ALAEC (Latin American
Association of Scientific Editors), whose main activities are:
"1. Re-establish quality criteria, valuing:
- Publications with relevant investigations, regardless of the field or subject-matter, language, target audience
or geographical reach;
- Contributions with a wide range of academic and research contributions, such as innovation, replication,
translation, synthesis and meta-research;
- Open science practices, such as open access and data, among others;
- Adoption of high ethical, quality and integrity standards in the scientific publication."1
Articles in this Number
Art, visual communication and design, together with information and communication technologies, always transgressive
and propositional, has shaped a multi-expressive, hybrid and trans-medial dimension, whence the expansion and
diversity of places of enunciation, approaches to unclassifiable works, reflections that continue asking —now from
the globalization and world-wide spread of culture— on art's reason for being or for proceeding, communicative
cultural strategies that resurface and qualify popular culture, on the cinematic post-narrative, imaginary
conditions and narrations of the documental I that resound in excluded and diverse social sectors.
Manuel Silva Rodríguez, in the first article entitled "Art's sad hope in Theodor Adorno's philosophy», offers an
attractive evaluation of the horizon to which art is bound, so positive today —even to aesthetic suspicion—,
frequented by the «likes» in social media and the alternative curatorship with much participation, but without
criticism in the museums and international events. The author revisits the strong critical thought of Theodor
Adorno's "negative form" at the time of the cultural industry; an idea from one of the main promoters of the
undefeatable School of Franckfurt. Negativity is that dimension where dialectic, contradiction, criticism, the moral
imperative that constitute the political dimension are possible, where art is, or should be, a model or critical
program of those societies that, in our time, live under ideological manipulation, merely consumer- and
media-oriented, mass art that seems to occur outside history.
Actio Volume 6(1) features next the article «A genealogy of popular communication in Latin America
(1940-2020)», by Juan Carlos Amador-Baquiro, originated during the sixth Master's degree promotion in Communication
and Media at the Universidad Nacional de Colombia's Instituto de Estudios en Comunicación y Cultura (IECO). The
author, based on exhaustive documentary research, re-thinks the strands of popular communication that responded to
the hegemonic perspectives of developmental and neo-liberal communication oriented to controlling social behavior
and covered the enormous international unbalance of information flows and alternative communicative processes. In
three moments, Professor Amador-Baquiro focuses on the use and abuse of the popular, reviews governmental
communications and popular strategies; the developmental, insurgent and communitarian projects, and concludes with
the paradigm that defines the teleology and repertories of popular action embedded in the South's feeling-thought.
Lior Zylberman, on the other hand, leads us to a reading of a controversial subject in the audiovisual culture of our
times, that of the apparent novelty of the use, by contemporary documentaries, of resources already produced
recreating the background and the story. In his article "This was(?) so - On recreation in contemporary documentary»
—a suggestive title—, implies that the current documentary form is not a novelty, for the documentary has this
condition since its origins, and he supports his assertion, synthetically, by tracing the gender's history. The
arguments based on the forms, variations (evidence, archive, disruption) of the documentaries' recreation and
production are presented through three documentary miniseries of international significance: Auschwitz: The
Nazis and ‘The Final Solution’ (Rees, 2005), The Jinx: The Life and Deaths of Robert Durst
(Jarecki, 2015) and A Wilderness of Error (Smerling, 2020).
The fourth article in this number is «Design and development of an interactive didactic tool for educating on and
promoting breastfeeding,» by Mateo Isaac Laguna Muñoz, Rosario Guerrero Castellanos and Gloria Yaneth Pinzón
Villate. It describes the design of a didactic tool to promote one of the most important practices for a baby's life
and health: breastfeeding. The authors share this interdisciplinary experience between health and design,
emphasizing the methodological approach they used.
This number continues with another aspect of technology in design, this time in the field of architecture, where
Angélica Chica Segovia and María Camila Ramos Zapata present, in «Optimizing the pathological diagnosis methodology
of humidity, developed for the study of building of the Ciudad Universitaria in Bogotá», a method for diagnosing
humidity in buildings. The authors describe the problem posed by a diversity of criteria and procedures used in the
pathology of construction, contributing a way of orienting a building's diagnosis in a mannera compatible with
structures and systemic contexts such as building information modeling (BIM).
At the end of the present edition we include a link to Estudios sobre Arte Actual Number 7 (2009),
proceedings of the IDEA'19 International Congress, that took place from October 2nd to October
4th, 2019, at Faculty of Arts, Universidad de Cuenca, Ecuador. The complete text includes the paper «El
proyecto Actio: una revista que se lee, se oye y se ve» (The
Actio project: a journal to be read, heard and seen.)
Correo Electrónico
DNINFOA - SIA
Bibliotecas
Convocatorias
Identidad U.N.
