Ana Garcia-Lopez

Cyber-physical systems help toward mitigating the impact of climate change on cultural heritage sites and monuments by utilizing cultural heritage digital twins, coupled with artificial intelligence/machine learning algorithms, facilitating degradation detection and triggering appropriate actions.

Sustainable development has become a prevailing strategy for today's society, increasingly aware of the new challenges we face. This is causing consumers to demand and adopt more sustainable purchasing behaviors, based on the perception of different values. This article examines the relationship between social value, economic value, and environmental value with perceived quality and perceived value as antecedents of purchase intent in the sustainable crafts sector. The data were collected through an online survey. The model has been analyzed using a SEM model with Smart-PLS. The results show that economic and environmental values positively influence attitude and perceived quality. However, social value only positively influences attitude. Both attitude and perceived quality have a positive effect on the purchase intention of sustainable artisanal products. In the final section, we discuss in detail the theoretical and practitioner implications of the findings obtained.

The interactive installation is currently an important alternative for disseminating works in museums and calling on new audiences, but one of its limitations is the early diagnosis of potential problems that may occur in the interactive communication process. Faced with this initial hypothesis, the aim of this work was to create an educational audiovisual laboratory capable of evaluating and diagnosing possible difficulties in this communicative process and help to establish strategies to advance alternative proposals and improve the interaction between the works at the museum and the public. As a result, a test laboratory was adapted in a television studio where the emot-brain test was applied: a method for evaluating user experience to the installation -Uno se muere y sigue aprendiendo a pintar- (Even dead one keeps learning how to paint, in English) with a focus group of students and professors from Universidad del Valle. The test yielded thymic indicators that were recorded through the Emotiv-epoc® device and chronemic and proxemic relationships that were systematized through participant observation, infrared and high sensitivity cameras and interviews. The evaluations provided evidence of the practical strengths and limitations of the works exhibited and allowed the interactive relationships to be noticed, understood and enriched. With these inputs, the corrections were adjusted, and the work was disseminated. The experience constitutes a support resource to guide students and creators in the face of uncertainty about the functionality of their works with evidence to support creative processes, revealing aspects that creators do not notice in the conception of the works.

El cambio de paradigma al que nos enfrentamos después de la crisis de la pandemia ha traído consigo una reflexión profunda acerca del modelo en que se desarrolla el progreso social y cómo es necesario marcar un tiempo nuevo en el que el diseño, la creatividad y la innovación transversal aplicada necesitarán ser trabajadas como disciplinas para su apropiación colectiva por la ciudadanía. 2021 se ha presentado como un año crucial en el que la economía creativa y los postulados de la nueva Bauhaus marcan claramente un discurso en el que las naciones toman conciencia de la importancia de las mismas como clave para la innovación, el desarrollo sostenible y, en fin, la recuperación económica. En este contexto, la investigación en arte y diseño aporta un nutriente de transferencia a la sociedad que se hace indispensable para el impulso de esa innovación transversal que ha de enfrentar un tiempo nuevo para la resiliencia y la sostenibilidad. Se presentan en este artículo las bases teóricas sobre las que se sustentan dos proyectos de investigación europeos en los que el diseño y el arte contemporáneo son puestos en relación directa a través de la inteligencia artificial, el machine learning y la economía circular con el fin de establecer conexiones entre artistas, artesanos, diseñadores, makers, productores y empresas de reciclaje a través de un modelo de gestión híbrido basado en las comunidades de conocimiento y el eco-diseño, integrando paradigmas de economía circular, economía creativa y economía colaborativa.

Throughout history, certain stereotypes associated with the idea of feminine and masculine have been consolidated and maintained, framed within a binary sex/gender system. With the passage of time and the inclusion of women in the workplace, such stereotypes have been extrapolated to the latter, resulting in inequalities in access to certain positions and professional development. Although significant progress has been made in workplace equality, some professions continue to be characterized by a particular polarization, and within the artisan sector, this is reflected in specific trades. In this sense, this research aims to determine whether there are gender stereotypes in the Spanish artisan sector, the degree of presence of men and women in the various craft trades, and what elements facilitate this polarization. A survey of 547 craftspeople, and a review of the statistical data on the working population in Spain for the year 2020, reveals a perpetuation of gender segregation depending on the craft trade, along with an ageing sector, and continued stereotyping in the generational replacement in the Spanish craft sector.

In what sense is entrepreneurial is a capacity or an attitude that is inherent to the artist? Can artists be entrepreneurs? Do they really want to? Is there a way to keep being an artist if you cross the line to self-promotion? How would it affect your creativity when become your own agent? Does it at all?  Are there simple skills and capacities to become a good seller without loosing yourself in the woods of the art system? How are institutions facing the topic to prepare their young artists to succeed? Are they implementing skills, tools, capacities, and even attitudes to help students face those roles?  Should art education make bigger efforts implementing entrepreneurship for artists within their academic programs? Are art high education institutions across Europe answering the needs of emerging young artists? Should the teaching of entrepreneurship be considered an ethical instructional imperative in times of mass unemployment? Are teachers equipped to undertake this instruction? In the globalized world, do young artists have the skills to self promote and be visible in the art arena? Are new forms of promotion through social media disrupting traditional hierarchies between the artists and their promoters? Are social critical issues profitable? What are the models for entrepreneurship that engage beyond market dynamic?....

La artesanía es a la vez cultura, patrimonio, economía, emprendimiento, desarrollo sostenible y, sobre todo, creatividad y oficio. En un mundo digitalizado donde el mercado es global, la artesanía tradicional necesita
abrirse a territorios que la revitalicen y potencien su legado para mejorar su presencia en el mercado, salvaguardando su esencia y los rasgos que la identifican, pero abrazando las claves del mundo actual. Este volumen traza una línea de pensamiento que se adentra en la revisión contemporánea de la artesanía y dibuja los territorios, amplios y diversos, sobre los que puede
avanzar hacia nuevos impulsos abordando la vanguardia sin pervertir su identidad.