This essay explains the creative action of the composer from a permanent experiential-based practice, whose starting line starts from empirical and intuitive creative processes. Their developments have been both improved over time and nurtured by elements from the academy since the subject goes through formative developments of the undergraduate and postgraduate degrees. This fosters the dialogue among the learning obtained from the experience with all types of knowledge provided by the academy.

The theatrical action between fire and silk is the product of a research-creation process, in which we make an approach to the feminine affections that have circulated through the bodies of women in various sociohistorical contexts that they have been immersed. Methodologically, we proceeded to carry out theoretical inquiries in the field of sociology, psychoanalysis, and literature, at the same time that we asked ourselves about our own experiences and those of other women in the context of Antioquia and Colombian culture; in this hybridization between universal and local experiences, we were able to place on one hand, the bodies of women touched by gender violence, forced displacement and a multiplicity of discomforts that occur in the way of establishing affective relationships where women bear the worst of it and on the other we place the inventive power of women to create rituals that allow us to confront, exorcise and free ourselves from these realities.

This article aims to recognize the importance that the sonorous design constitutes for the sonorous scene from the dissimilar places or spaces in which sound, as a preponderant factor, accompanies life itself to give relevance to noise, which, for creative purposes, becomes the working material of a designer, who has found symbolic elements in any space that can give rise to thinking about noise as a producer of sensations which allow the design of pieces that contain meaning by themselves, or that can fuel images of cinema, fixtures, performance, among others. The historical journey in which this paper is immersed, wants to unveil the creative potentialities that life itself tosses day to day with relevance to ways of making music away from the western tempered thought. The text concludes with the description of a compositional project in the midst of the Covid-19 pandemic.

This text aims to expose a few thoughts about the pedagogical praxis of professor Bernardo Piedrahíta Naranjo. In addition, methods and techniques that he uses in his teaching work are described and also how the students at the Escuela Superior Tecnológica de Artes Débora Arango can strengthen their education process, not only as artists, but as integral human beings.

The IV International Seminar of Investigation on Artistic Practices in Context, is a space for academic concentration for the analysis of learning from interdisciplinary work, circumscribed in the wills and realities of the field of arts and creative economies. For this version, two thematic axes or lines of reflection were oriented in which it was possible to converge the contributions and reflections of researchers and creators, from and for the field of the arts.

This paper looks into both problems and challenges faced regarding the management of the cultural sector during the pandemic and how this crisis may mean a lateral look from social innovation and the architectures of participation.

La investigación y las artes en particular la música, me parece que tiende a percibirse como opuesta, o como contradictorias. Y esto es cierto, aun en las universidades y las facultades de arte, de las que creo venimos todos.