This article comes from the participation in a creative and experimental exercise led inside a Doctorate seminar. Epistemology of materialities: an approach to the performativity of objects in research. Each meeting was motivated by the question: Which epistemological outputs and body conditions conduct corporeity in the research unfolding? Each session was a blind meeting with some corporeity that revealed their strength to induce inner affections as subjects. At the same time, they triggered reflections about the place of corporeity in education research.

This paper shows, as a logbook, the different attempts to establish a methodology for a research-creation proposal about a memory exercise. Research-creation is the method adopted by Arts as an alternative to propose artworks as part of the result of a research process. Nevertheless, each artistic proposal requires a particular way of materializing, that is, a methodology that allows both the production of papers and the creation of artworks. This text is the compilation of the journeys and displacements that allowed me to establish a methodology to propose a work of art and a research about the violent events that marked the time of my youth.

This article studies the forms of research in the arts from three levels: the narrative of the research, the practices on which it is based and the desire that moves it. As a case study, the project For rent. Live archive of the actor, developed by the stage director and interpreter Juan Navarro in collaboration with Óscar Cornago, is used. The objective is to analyze the qualities of practical knowledge and from there the ways of working in the arts against the institutional horizon of theoretical knowledge.

His work is a consequence of the search, from the role of musical educators, of pedagogical routes located in an epistemic diversity beyond the Western tradition and its territories of colonial influence in Latin America, Colombia and Antioquia in Particular. In our context, forms of music education derived from the modern civilisational project have been institutionalized, which has determined learning strategies and their educational models for music. As a result, both central-European conservatory music and popular and traditional music have been immersed in the same logic of construction and symbolic production Thus, in higher education prevails a universalizing and conservative gaze, which conceives the issue of musical practice preferably in terms of the object, that is, of the work, highlighting aspects as relevant as symbolic transactions, the cultural imaginaries, identity, narratives, estesis and arrays of reality, as well as the ontologies that support their entire construction. For this reason, it is necessary to propose a different route that explores musical formation from the dimension of being as the central axis of it, reincorporating the body as a receiving element of knowledge that favors the connection between the emotional states and the building the musical sense in his practice. Imagining, shaping and fostering vital and diverse experiences aimed at strengthening, expanding and complementing pedagogical practices for music, with other tools, strategies and resources based on the estesis.

This article unfolds from the research titled Composition of formative gestures from the porous condition of the bodies, developed in the Master of Education Sciences at the Universidad de San Buenaventura, Medellín. This project is articulated to the research line in Cultural Studies and Contemporary Languages which belonged of the ESINED research group. Methodologically, the research focused its objective on Arts-Based Research, ABR-, and from there it implemented the action called creation-invention laboratory, with the purpose of giving rise to a series of formative gestures that pass through the porous condition of the bodies.

In this text we review the presence of the bodies of domestic workers in the visual arts in the Latin American context. This work displays one of the purposes of the doctoral thesis The Rooms of Domestic Servants: Spaces for the Formation of Bodies, study that has been raised and developed from the research-creation perspective. Thus, in this article we make an approach to two works by Colombian artists, the project of a Peruvian artist and three film productions. This set of artistic works allows us to think about the way in which the body of the domestic employee is present and to emphasize that, beyond the aesthetic regimes that operate in the configuration of images, in these works converge ideologies of class, racism and the deep social inequalities that openly subsist in Latin America in very different ways.

Este trabalho busca aproximar o conceito de transcriação com os propósitos da investigação-criação através de uma abordagem sobre os processos de formação de conhecimento que fluem em espaços intersticiais entre o sensível e o inteligível, o material e o imaterial, até chegar às reflexões sobre autoconhecimento e arte-educação. Utiliza referentes teóricos e ações de experimentação-criação que permitem compreender como se transcria conhecimento em diálogo com as artes. O texto é resultado da participação no seminário de linha Estudos culturais e linguagens contemporâneas, intitulado “Epistemologia das materialidades: uma aproximação à performatividade dos objetos na investigação”. A partir do trabalho aí realizado, componho o conceito de transcriação para discutir a investigação, a arte e a educação na mesma corrente de fluxos formativos que constantemente perpassam o universo das materialidades.

In this article the research-creation of the plastic work “Gestures that contain” is exposed, in which the collection of specific objects related to music, is investigated based on its characteristics and processes such as, collection, review, classification and transformation. The same ones that will allow the materialization of a sound installation in which the collector ´s room is recreated and the music of the discos is heard at 78rpm. All this contained in a “Huacal” in which a poetic space is generated to reflect on the dynamics referred. The concept of collecting is used to review how we relate to objects and the link that is generated with them by identifying with some of them.