This article aims to elucidate the visual culture concept. Although this is a key concept within the field of visual studies, it is still in need of an adequate conceptualization. The article begins with a brief synthesis of the use of “visual culture” in visual studies. Following, it discusses the concept of culture and asks what is the visual in visual culture, building from this discussion, it proposes a concept of “visual culture”. Finally, the article revises some of the definitions of visual culture under the light of the proposed concept.

This article presents the research perspectives of the cultural and creative industries, specifically in relation to the handicrafts subsector. For this, it links a bibliographic review of 15 articles in relation to the descriptor "handicrafts" that are published in indexed journals of the Scopus database from 2000 to 2018. This research is a non-ex-perimental, exploratory study and conceptual that managed to identify the investigative perspectives around this subsector and allow recognition of this multidisciplinary characteristic, due to its incidence in various fields of human life. However, its greatest artistic value is aimed at strengthening identity and culture, since through the cul-tural assets that are created by artisans, the roots and customs of a specific social group are transmitted and exposed. Additionally, this advance corresponds to the first phases of research that tries to recognize the academic contributions generated from the social and economic development of this type of industry, going from a general vision and continuing with detailed reviews in the main subsectors. It is valid to emphasize the importance of this investigative process, since it exposes to interested third parties the different externalities of knowledge that help to propose the way and the options to generate greater opportunities for all those actors who coexist in this type of network.

The research that gives rise to these pages addresses the relationship between Transmedia Storytelling and informal learning, under a conceptual approach from narrative and media consumption, which is lived mainly on a daily basis on the Internet. This article is the product of an ongoing, unfinished investigation. A development in two stages was proposed: bibliographic research and exploratory research; under a qualitative method with an empirical-analytical approach; having worked to date only the first stage. Theoretical contributions of the last decades made in areas of communication, pedagogy, psychology and sociology, regarding the functioning of the human mind, especially the relationship between narrative (Storytelling) and learning, were reviewed. From the set of findings found in a preliminary way, it is clear the importance of the narrative for the human being, as part of their personal, social and technological development.

The purpose is to inquire between brands or companies that, due to the pandemic, had to be completely reformulated or were born from the unemployment resulting from commercial and economic suspension. The research seeks to identify in the creative and cultural ecosystem companies context (basically in arts and design), what elements of the circular economy (The 9 Rs, it adds a tenth) apply and how much they contribute to the fulfillment of 3 sustainable development goals (8. Decent work and economic growth; 9. Industry, innovation and infrastructure; 12. Responsible consumption and production).

The construction of this work starts from the concept of “anatomies” as a body, considering that the human being is an enigmatic structure as a functional organism, but what is of interest is a body registry with which it is possible to experiment and create a material interpretation of it. Anatomies were the starting point in this search from research-creation in arts between bodies, but it is accompanied by a second concept that is materiality, from which some dialogues arise to specify this process. In the project Anatomies (in) visible: dialogues between materialities, he focuses mainly on a register on the skin, an experimentation with textile material (threads, wool and cabuya) and a visual-textual dialogue. Thus creating other ways of seeing what may be invisible in the body, but visible in the dialogue.

Experiences that fill life with joy, as well as the devious and insipid ones are phenomena that are part this daily life, and art feeds on it: take our individual and social reality, problematizes it, and through the great stories that arise from that framework, and with the support of its different manifestations, it exalts its slopes or denounces its stony paths. In addition, it allows an approach to the crannies of our human condition: birth, love and death. The course of our inquiry has the purpose of outlining the possibilities of art for disobedience, to ponder about that reality and its becoming. In general terms, the following text is divided into two parts: the first one ‘Disobedient Art’, lays out some examples of individuals who through art found a powerful voice to express themselves, In the second part, considering the main topic ‘Disobedient Art’, an interview with the professor, musician and physicist Arley Flórez López is unfold.