De Obras Research Articles

Spatial variations of runoff thresholds associated with changes in land use over the period 1990-2018 in the Mediterranean side of Andalusia

The runoff threshold is the amount of precipitation that exceeds the infiltration capacity of the soil and from which water begins to flow over the land surface. Its spatial variation will determine the appearance of a series of processes and risks such as soil erosion, sediment transport, water pollution or flooding, all of which are of great interest in the field of land planning and management. This article provides an update of the runoff threshold in the territorial scope of the Demarcación Hidrográfica de las Cuencas Mediterráneas Andaluzas and evaluates the spatial changes occurred between 1990 and 2018 because of land use dynamics. For this purpose, the methodology described in Regulation 5.2-IC related to surface drainage, of the Instrucción de Carreteras (Ministerio de Obras Públicas y Urbanismo [MOPU], 1990; Ministerio de Fomento, 2016, 2019) was used. The results obtained show very contrasting runoff threshold values, with maximums in the western sector and minimums in the eastern sector. On the other hand, the dynamics of land use changes have led to a significant increase in impermeable surfaces and sclerophyllous vegetation, which has generated a clear reduction in runoff threshold values in different areas, mainly in the eastern region. Specifically, the former forest areas, currently occupied by sclerophyllous vegetation, stand out, with a reduction of 17 mm over an area of approximately 229.1 km2. The conversion of agricultural lands into urban areas is also noteworthy, with a decrease in their retention capacity by up to 14 mm of precipitation, covering a total area of 97.1 km2.

Ocorrência de ondas de frio no Rio Grande do Sul no final do século XVIII e no século XIX e a produção do conhecimento climatológico

The state of Rio Grande do Sul experienced intense cold at the end of the 15th century and heavy snowfalls in the 19th century, specifically in 1858, 1862, 1867, 1870, 1871, 1873, 1875, 1879 and 1885. Due to the social problems caused by these severe weather events, the need arose to create a meteorological service. There were several initiatives in the 19th century, most notably the service organized by the Commissão de Obras do Porto de Rio Grande, the Public Works station in Porto Alegre and the Escola de Artes e Officio station in Pelotas.

Un último comentario «En el dudoso mar de las obras de don Luis de Góngora». Salcedo Coronel ante el Panegírico al duque de Lerma

Almost twenty years after editing the glosses on the Fábula de Polifemo y Galatea, the work that introduced him to the relevant discussion about Góngora’s lyrical poetry, Salcedo Coronel published the second part of the Obras de don Luis de Góngora comentadas, a f inal volume whose last pages included the Panegírico al duque de Lerma. This annotated edition helps to identify a model based on relevant works ascribed to the genre. Through this model, the Sevillian author improved and added certain determining characteristics to his first printed version.

Domestic service and Chilean literature: fictional experiments in narrating the household

This article shines light on the interconnectedness of reproductive labour and Latin American literature through two Chilean novels that explore the relationship between peripheral capitalism and domestic servitude: José Donoso's The Obscene Bird of Night and Diamela Eltit's Mano de Obra. The study of these texts allows for a periodisation of the reproductive sphere under different phases of capitalist accumulation, and exposes an association between the literary treatment of domestic service and the achievement of highly experimental narratives in Latin America. My reading of Obscene goes beyond viewing this novel as postmodernist fiction, by showing how its nightmarish poetics are a consequence of the transformation of the oligarchic household vis-a-vis the collapse of systems of bonded labour in the 1960s. Whereas the prose of Obscene provides a harrowing descent into the intimate connections between master and servant at the moment of their decline, Mano de Obra unveils a surgical prose capable of expressing the new impersonality of social reproduction in the subsequent neoliberal period. Of special interest to this analysis is how Eltit suggests that even the proletariat household can recreate exploitative patterns of domestic servitude to guard against complete immiseration. Three main conclusions result from this reading. First, Latin American fiction is an important literary archive from which capitalism's exploitation of the reproductive sphere can be excavated. Second, Latin American literature shows formal uniqueness when representing domestic service in the periphery. Lastly, fictional representations of domestic service help us understand the institution not as remnant of previous modes of production, but as capitalist strategy for the reproduction of social forces that underpay the cost of life-making processes.

Estreno absoluto: Concert Version of Felipe Pedrell’s La Celestina (1902) in Madrid’s Teatro de la Zarzuela (2022)

<i>Estreno absoluto</i>: Concert Version of Felipe Pedrell’s <i>La Celestina</i> (1902) in Madrid’s Teatro de la Zarzuela (2022)

ECOPOOL+++: Developing a sustainable outdoor heated swimming pool

The University of Algarve, in consortium with “Cristal Construções – Materiais e Obras de Construção Civil”, “Itelmatis Control Systems” and “Itecons – Instituto de Investigação e Desenvolvimento Tecnológico para a Construção, Energia, Ambiente e Sustentabilidade”, is developing a new concept of outdoor heated sustainable swimming pool, having a higher energy efficiency and lower environmental footprint. The main objective is to minimise energy and water consumptions, while assuring a comfortable temperature for the user, extending the utilization of the pool in the Algarve region, from the summer months, to at least 8 months of the year. In order to do it, different systems will be tested, including solar thermal and photovoltaic panels, inverted underfloor heating, heat accumulator exchanger with phase change materials and energy dissipating pipes. An innovative thermal insulation system will be included in the interior of the pool tank, together with a new system for the covering of the water plane. All these systems will be monitored and controlled by an industrial automation system that will communicate, via a programmable logic controller, using industry standard communication protocols, with a SMART platform, that will be in charge of the global operation's optimisation. This platform will support an intelligent and predictive control and monitoring module, that controls the automation system to maximize the energy usage of the renewable sources, while assuring the user preferences. One of the main outputs of this project is the construction of a smaller scale prototype of a swimming pool, with the characteristics mentioned above, in order to test and validate the proposed developments.

Ética alimentar na obra de Astrid Cabral*

Neste artigo examino a forma como a poeta Astrid Cabral dá voz às plantas e animais da sua região natal, a bacia amazónica, nas suas obras literárias. Começo por analisar a relação próxima que Cabral estabelece nos seus textos, com o mundo natural e os seres não-humanos, e concentro-me em seguida em questões de ética alimentar, que perpassam todas as suas obras. Mostro como Cabral questiona os pressupostos de uma dieta de estilo ocidental, baseada no consumo de plantas e animais, e que não considera o direito à existência destes seres vivos. Na última secção do artigo estabeleço uma ponte entre estas considerações sobre alimentação e o ecofeminismo. Cabral elabora uma comparação entre a exploração do corpo feminino e o consumo de carne animal que serve de ponto de partida para uma crítica mais abrangente ao consumismo contemporâneo.

Towards a Green Port strategy: The decarbonisation of the Port of Vigo (NW Spain)

Carbon footprint (CF) has become a crucial piece to develop strategies to tackle the climate change issue. Its implementation makes it possible establishing a path towards decarbonisation with the aim to comply with European and global greenhouse gases (GHG) emissions guidelines and commitments. Currently, several tools for calculating the CF are available. However, the differences in the calculation methodology and data collection prevent comparative studies based on the results obtained to be made. For this reason, CEDEX (Centro de Estudios y Experimentación de Obras Públicas), commissioned by Puertos del Estado, prepared a good practice guide with a common methodology for calculating the CF of Spanish Ports. In this study, we tested this standardized methodology for the first time in the Port of Vigo (NW Spain) during a four-year period (2017–2020), developing a web tool to facilitate its application, with the ultimate aim to extend its implementation nationwide. This work demonstrates the suitability of the CEDEX methodology to quantify the CF in harbours, and to assess the interannual evolution of the emissions, thus facilitating the assessment of the different environmental strategies implemented in the port to achieve the emissions reduction targets. The main CF loads are derived from the loading/unloading operations, due to the consumption of fuel, accounting to a value of 14,161 kg CO2 eq per TEU (twenty-foot equivalent unit). With the implementation of the methodology developed in this study, a reduction of 55 % of GHG emissions could be achieved in all port activities, thus complying with the objectives of the European Green Deal for 2030.

«No se dice “¿qué?”, se dice “¿mande?”». Origen y evolución de la fórmula “mande” en español

«No se dice “¿qué?”, se dice “¿mande?”». Origin and evolution of the formula «mande» in Spanish The objective of the study is to delve into the origin and the process of pragmaticalization of the expression mande, from a directive act of speech. Although its use is currently typical of Mexican Spanish, where with interrogative intonation mande is used to respond to the addressee‘s call or to ask the recipient to repeat the message that the sender has not understood or has not heard well, its uses are well documented in peninsular Spanish from the 16th century. With the help of discursive proximity texts (comedy, dialogue texts, etc. from 16th to 20th centuries), the author tries to find the socio-pragmatic contexts that contributed to the creation of the formula mande. * This research was funded by the Priority Research Area Heritage under the program Excellence Initiative – Research University at the Jagiellonian University in Krakow. La presente investigación ha sido realizada gracias a una estancia investigadora en la Academia Nacional de Lenguas de Uruguay. Quiero expresar mi más profunda gratitud a las Profesoras Virginia Bertolotti y Marisa Malcuori por su calurosa acogida y la inestimable ayuda que me brindaron. La cita que encabeza el título proviene de la obra de Poniatowska (2003: 146).

Diccionario Cervantes by Jean Canavaggio

Reviewed by: Diccionario Cervantes by Jean Canavaggio Howard Mancing (bio) Jean Canavaggio. Diccionario Cervantes. Madrid: Centro de Estudios Europa Hispánica, 2020. 509 pp. ISBN-13: 978-8415245957. This is a beautiful book. It is also a big book: over 500 pages, measuring 8.5” x 10,” 2” thick, and weighing 4.5 pounds. It is lavishly illustrated; in fact, it is divided equally between text and image, about half the pages devoted to each. The body of the work is followed by a Cuadro genealógico de los Cervantes, a Cronología, and (an incomplete and uneven) list of Obras de referencia (all occupying a total of 12+ pages). The images include reproductions of works of art (paintings, drawings, engravings, etchings, lithographs, posters, tapestries, and more); texts (letters, documents, manuscripts); photographs of persons and places; and various other things (maps, photographs, music scores, movie stills, comics, newspapers). The visual attractiveness of the volume is impressive and, in some ways, the best part of the book is its rich collection of high-quality images, many of them familiar, others not seen before (at least, by me). The 136 double-column entries in the dictionary vary in length from a few lines to ten columns of text. The longest entries (not including images) are for the following topics: Cautiverio, Cine, Esoterismo, Letras hispanoamericanas, Prisiones (the longest single entry in the book), Sevilla, and Valladolid; these entries average 8.5 columns in length. The entries for Cervantes’s works— Comedias, Entremeses, Galatea, Novelas ejemplares, Numancia, Poesías, Persiles y Sigismunda, and Don Quijote, and Viaje del Parnaso—average 6 columns each. There is (as I know from personal experience) no way the author of a dictionary or an encyclopedia can include everything worthy of mention. Even the monumental Gran Enciclopedia Cervantina, currently 12 volumes (A through Sandoval y Rojas, Don Bernardo de) and more than 11,000 words long does not have an entry for everything and everyone. Jean Canavaggio has of necessity made choices about what and whom to include. It would not be fair for a reviewer to concentrate on what he has not done more than on what he has done so well. If the entries in this Diccionario Cervantes seem to give preference to French writers, artists, and scholars, so be it; that is Canavaggio’s choice. But not to point out a few significant omissions and distortions of emphasis or importance would be worse than ignoring them. There are superb entries on dozens of subjects of significance to the life and works of Cervantes in this dictionary: Atribuciones; Brujas y hechiceras; Converso, Origen; Documentos; España; Gitanos; Indias; Judíos; Lepanto; [End Page 208] Moriscos; Negocios; Óperas; Picaresca; Religión; Saavedra; and Traductores del Quijote. These and many other accurate and informative entries illustrate the breadth and subtlety of the author’s presentation. They are, for the most part, a delight to read and can be appreciated by general readers and Cervantes scholars alike. In addition, there are entries for members of Cervantes’s family and for others who play an important role in his life and times: Agi Morato, Felipe II, Don Juan de Austria, Juan López de Hoyos, Antonio de Sigura, Lope de Vega, and others. There are entries for two important literary genres important in the time of Cervantes—Libros de caballerías and Picaresca; Tirante el Blanco has an entry, but not Amadís de Gaula. There are entries for literary theorists and scholars: Américo Castro, Michel Foucault (?), György Lukács, and José Ortega y Gasset. Missing are two of the most important theorists of the novel and Cervantes’s place in it: Friedrich von Schlegel and Mikhail Bakhtin (also missing in the Gran Enciclopedia). The absence of the latter is particularly unfortunate, as no one has featured Cervantes and Don Quixote more centrally or with more original insightfulness. There are 21 entries for writers, mostly novelists, but with an uneven distribution and with some quirky inclusions: 8 English, 4 French, 3 Latin American (included in the Letras hispanoamericanas entry), 2 each Russian, German, and USA, and 1 Spanish. Azorín and Borges (the only Spanish American writer with...

El artista como educador de la moral y moralista de la educación. una reseña del libro la educación moral, una obra de arte

This book review discusses Félix García Moriyón new book La educación moral, una obra de arte (Moral education, a work of art).

El arte en la encrucijada de la historia sudafricana Resonancias a partir de la obra de Tracey Rose

The most interesting intellectual tradition of cultural studies invites us to observe the interconexion among life experiences, culture and power. In this paper we aim to analyze racism and colonialism continuities in contemporary South Africa from a feminist point of view, where official narratives about South African recent past are contested. Our starting point is the video-instalation The Black Painting: Dead White Man de Tracey Rose, presented at Goodman Gallery, Cape Town in 2015, in order to analyze the binarism as an epistemological discourse producing history and framing art as one of the possible historical narratives; simultaneously, we aim to underline the young Black artist contribution to a radical critic of South African History and its present resonances.

The Other Toscanini: The Life and Works of Héctor Panizza Sebastiano De Filippi and Daniel Varacalli Costas

Reviewed by: The Other Toscanini: The Life and Works of Héctor Panizza Sebastiano De Filippi and Daniel Varacalli Costas James Michael Floyd The Other Toscanini: The Life and Works of Héctor Panizza. By Sebastiano De Filippi and Daniel Varacalli Costas. Translation by Jessica Sequeria. (North Texas Lives of Musicians, no. 13.) Denton: University of North Texas Press, 2019. [xiii, 363 p. ISBN 9781574417746 (hardcover), $29.95; ISBN 9781574417845 (e-book), price varies]. Photographs, facsimiles, illustrations, anecdotes, works list, chronologies, discography, bibliography, index. The Other Toscanini is the only biography published in English on the Argentine-born conductor–composer Héctor (Ettore) Panizza (1875–1967). It is a translation of the authors’ Spanish-language Alta en el cielo: Vida y obra de Héctor Panizza, published in 2017 in Buenos Aires by the Instituto Italiano de Cultura. It is a welcome addition to the North Texas Lives of Musicians series, which includes biographies of instrumental performers William Vacchiano and Dennis Brain, choral conductor Lloyd Pfautsch, the Madrigal Ensemble Singers, and several jazz and Texas musicians. The Other Toscanini is a clever title. It succinctly conveys that the subject of the book, Héctor Panizza, was once considered on the same standing as his better-known colleague and acclaimed Italian conductor, Arturo Toscanini. The title creates added interest in the subject. If the title had simply been The Life and Works of Héctor Panizza, the volume would have been less inviting. But the study does not spend many of its pages comparing the two conductors. The focus is on Panizza and his accomplishments as a composer and conductor and his associations with numerous musicians and other individuals, including some political figures. The biography is organized into three sections: “The Life,” “The Work,” and “Appendices” of no fewer than fifty pages. “The Life” consists of six chapters, beginning with the introductory chapter, “Music in 19th Century Argentina,” which provides a background of the musical climate in Argentina approximately fifty years before Panizza’s birth. The following chapters discuss the Panizza family, the young Panizza’s formative years, his conducting career in Europe and the Americas, and his return to his homeland. Expanding on material presented in the preceding section, “The Work” is organized into four chapters: “The Composer,” “The Conductor,” “Panizza and the Colón,” and “The Toscaninian Legacy.” As a composer, Panizza composed instrumental chamber and orchestral works, four operas, and arranged other composers’ works. An arrangement of Edvard Grieg’s Lyric Pieces for orchestra received Grieg’s positive attention in a letter, which is included in facsimile (p. 138). Although Panizza’s music received praise in his time, the aria “Canción de la bandera,” from his opera Aurora, is his best-known work, especially among Argentine school children, who know it as the song to sing as the flag is raised. Panizza’s early association with composer Pietro Mascagni led to increased responsibility as a conductor. Being both a composer and a conductor, however, proved too demanding. “The frantic pace of his intense activity on the podium,” the authors write, “was already beginning to sweep him along and gradually confine his musical creation to a limited degree” (p. 34). “The Conductor” and “Panizza and the Colón” discuss Panizza’s career abroad and his work with the Teatro Colón in Buenos Aires, from which he received praise from his countrymen. “We thought we would find ourselves before a true Italian, who hardly knows our own language,” one critic wrote, “and have had the pleasant surprise of confirming that despite his long residence in Europe, in Italy above all, he is a creole, [End Page 396] more so than some sons of foreigners who have not left Argentina” (p. 216). “The Toscaninian Legacy” ties up the study nicely, discussing Toscanini’s influence on Panizza and sharing a perspective of past and present conductors influenced by Toscanini and Panizza’s artistic work together. “This influence continued even after [Toscanini’s] death,” the authors note, “given that there existed and still exist maestros who, directly or indirectly, follow the Toscanini and Panizza line: artists who strongly identify with the type of work they both displayed while working together...

NO HAY ÁNGELES EN LA CASA EN LA OBRA DE MARTIN McDONAGH LA REINA DE LA BELLEZA DE LEENANE Y EN UNA CHICA ES UNA COSA A MEDIO HACER DE EIMEAR McBRIDE

This paper aims at analyzing the complex female constructions of identity, trauma and personal failure in Martin McDonagh’s The Beauty Queen of Leenane (1996), and Eimear McBride’s A Girl Is a Half-Formed Thing (2013). As the title suggests, “No Angels in the House” refers to the central role motherhood has firmly held in traditional Irish society, and how progressively this sublimation of the mother figure has evidenced a deeper somber side of domestic life. I explore the concept of the maternal in both works, and how the devastating consequences of a rigid religious upbringing will stigmatize the protagonists’ lives forever. I also analyze the post-traumatic stress disorder that the two female protagonists suffer when they fail to assert themselves in such a hostile environment. In this framework, the final part of this work is devoted to reflecting upon the acknowledgment of personal failure and the impossibility of redemption. The illusion of freedom coupled with the sociocultural breeding causes the subversion of the moral edicts, and the death of the protagonists who seem to disintegrate and fade away into a non-existence of their own

(Re)lendo Bourdieu a partir da obra de Maria Helena Souza Patto

ABSTRACT This article aims to analyse the discussions of the concepts elaborated by Pierre Bourdieu in the work of Maria Helena Souza Patto, a retired professor and researcher from the Psychology Institute of USP, whose intellectual production was a watershed in the field of psychology in interface with education in Brazil. From this set of writings, three books and one chapter will be highlighted: Psychology and Ideology (1984), The production of school failure (1990), The misery of the world in the third world (2000) and Denied citizenship (2009). The references to Bourdieu throughout Patto’s work highlight the need for a critical dialogue by prioritising, in her analysis, the complexity of the Brazilian educational reality and considering the dangers in the use of concepts when they conceal the power relations present in their articulations with the problems studied.

Nothing But Workers: Reading Class Struggle In Diamela Eltit’s Mano de obra

In this essay I study the supermarket in Diamela Eltit’s Mano de obra as a site of class struggle. Despite readings that see in the novel a representation of post-work society, several scholars have noted that Mano de obra can be productively read as a novel that explores the centrality of labour in present-day capitalism. In this article I suggest that Eltit’s novel offers, at the level of form, a powerful reflection on labour exploitation as mediated by the sale and purchase of labour-power. I emphasise two processes that the novel registers in relation to the neoliberal working-day: the changes in the inward notation of time brought about by the expansion of the service industry, and the compenetration between the disciplinary practices of the workplace and the affective structures of the household. I conclude the essay by showing how the punctuation of the novel, in particular the overabundance in the use of parentheses, gives formal expression to the fundamental reality hidden behind the sale and purchase of labour-power: the dispossession of the worker from her own living body.

A case for agonistic peacebuilding in Colombia

The purpose of this article is to discuss the concept of agonistic peacebuilding in the light of the ongoing peace process in Colombia. We subscribe to an approach to agonistic peacebuilding that acknowledges conflict as an inevitable but also possibly productive dynamic. We think that the work by the Colombian research programme La paz es una obra de arte (Peace Is a Work of Art) is an inspiring case to analyse from this perspective. This programme, based at the University of Antioquia in Medellín, helps us understand in depth how agonistic peacebuilding strategies work through the arts, using clown interventions to foster life story narratives in order to transform former enemies into adversaries and engage all actors in the creation of peace.

A Failed Link between Chilean Workers’ Subversive Past and Submissive Present in Diamela Eltit’sMano de obra

Mano de obrais one of the most studied novels written by the Chilean author Diamela Eltit (b. 1949). Scholars have paid particular attention to the novel’s socioeconomic commentary at the level of the plot. They have not, however, conducted a close examination of how the novel expresses this criticism through its narrative form. Nor have they explored the relationship of the novel’s literary techniques to the politico-cultural context that it portrays. This article engages in a close reading of the literary techniques thatMano de obraemploys to depict a certain social context. It also addresses some politico-cultural implications of the novel’s narrative form in the context of Chile’s contemporary society to demonstrate that the novel foregrounds a sense of pessimism and hopelessness about linking Chilean workers’ subversive past with their submissive present.

Levantamento de obras de arte em chapa acrílica em coleções Portuguesas

Acrylic sheet, also known by the commercial names Plexiglas or Perspex, consists of poly(methyl methacrylate) (PMMA). Attractive to artists since its development in the 1930s, it became especially popular during the 1960s. In Portugal, knowledge about its use by artists and its condition is scarce. In this work, the main Portuguese art collections were surveyed with the goal of gaining an overview of the use of acrylic sheet in the Portuguese art context and its current condition. The paper describes the methodology used and the results obtained regarding 137 artworks by 69 different artists registered as containing acrylic. Results show that this material is being used by Portuguese artists at least since the 1960s. It has been used in several artistic forms, from painting and sculpture to photography, installation, objects/reliefs, and artist books. Most of the artworks were in good or fair condition. The main problems observed were dust and dirt deposits, abrasion, and scratches.

Contributors

Luis Camnitzer is a Uruguayan artist and the author of New Art of Cuba (1994) and, more recently, One Number Is Worth One Word (2020). He co-organized the exhibition Global Conceptualism: Points of Origin 1950s–1980s, with Jane Farver and Rachel Weiss, at the Queens Museum in New York in 1999. The Reina Sofía Museum in Madrid exhibited a retrospective of his work in 2018–19.Irmgard Emmelhainz is a writer and researcher based in Mexico City. Her work on film, the Palestine Question, art, culture, and neoliberalism has been translated into many languages, and she has presented it in an array of international settings. Recent publications include The Sky Is Incomplete: Travel Chronicles in Palestine (2017) and Jean-Luc Godard's Political Filmmaking (2019).Raino Isto is currently a fellow at the Educational Video Center in New York City and is editor-in-chief of ARTMargins Online. His practice focuses on integrating social justice with arts education for youth in both urban and rural contexts. His work has been published in Third Text, Science Fiction Studies, Extrapolation, International Labor and Working-Class History, and The Getty Research Journal.Karolina Majewska-Güde teaches in the Department of Art History at the Catholic Private University Linz. She is the author of Ewa Partum's Artistic Practice: An Atlas of Continuity in Different Locations (2020). She recently curated two exhibitions—Ewa Partum: My Gallery Is an Idea. Galeria Adres Archive, in collaboration with Berenika Partum, at Galeria Studio in Warsaw (2018), and Irena Lagator: For the Common Good (2019), at KU Linz.Mohammadreza Mirzaei is a PhD candidate in the Department of the History of Art and Architecture at the University of California, Santa Barbara. Mirzaei's articles have appeared in such journals as Herfeh: Honarmand, Kaarnamaa, and Tandis. He is a coeditor of issue 51 of Herfeh: Honarmand, devoted to Italian photography, and the translator of Stefano Benni's Grammatica di Dio from Italian into Persian (2014).Bruno Moreschi is a postdoctoral fellow at the University of São Paulo and a multidisciplinary artist with a PhD in Arts at the State University of Campinas. Christopher Bratton is a professor in the School of Art, Design, and Architecture at Aalto University (Finland) and a cofounder of the Center for Arts, Design and Social Research (CAD+SR). Dalida Maria Benfield is an artist, film-maker, writer, and researcher. She is the research and program director of the CAD+SR. Gabriel Pereira is a PhD Fellow at Aarhus University (Denmark), where he uses creative methods to blend science and tech nology research with artistic practice. Guilherme Falcão is an art director working with and researching print and digital media. He has a BA in Graphic Design from Senac University Center (Brazil) and studied art history and curating at the Pontifical Catholic University of São Paulo. Brought together through the Center for Arts, Design and Social Research, these artists are collaborating on the Global _rt Stories project, a rewriting of normative of art history, its ideologies and erasures.Catherine Spencer teaches in the School of Art History at the University of St Andrews. She is the author of Beyond the Happening: Performance Art and the Politics of Communication (2020) and the coeditor, with Jo Applin and Amy Tobin, of London Art Worlds: Mobile, Contingent and Ephemeral Networks, 1960–1980 (2018).Rachel Weiss is a writer and curator. She is the author of Now What? Quandaries of Art and the Radical Past (2021) and To and from Utopia in the New Cuban Art (2011) and co-author and editor of Por América: La Obra de Juan Francisco Elso (2000) and Making Art Global (Part 1): The Third Havana Biennial (2011). She edited the 2010 book On Art, Artists, Latin America and Other Utopias by Luis Camnitzer.