https://hdl.handle.net/10481/5602 2026-04-19T04:22:10Z https://hdl.handle.net/10481/111815 Residência artística MM2019 #01: Montanha Mágica na Covilhã Osorio Porras, Jesús Actas del Simposio Internacional Montanha Mágica Arte e Paisagem. Universidade da Beira Interior, Covilhã, 20–22 de noviembre de 2019.* Esta contribución, incluida en el libro de actas Montanha Mágica (MM2019), presenta los conceptos y resultados de la residencia artística de Jesús Osorio, realizada durante tres meses en la Universidade da Beira Interior (UBI), coordinada por Francisco Paiva, con el apoyo de la Facultad de Bellas Artes de la Universidad de Granada y la colaboración del New Hand Lab. El proyecto explora las percepciones del territorio montañoso a partir de imágenes mentales, recuerdos y anticipaciones, reinterpretadas mediante procesos experimentales de dibujo, deformaciones, juegos e invenciones, generando un cuerpo de trabajo visual que combina lo real y lo imaginado. Los resultados se materializan en objetos, dibujos y pintura expandida, reflejando tanto las sensaciones físicas de la exploración como la memoria y la imaginación, ofreciendo una aproximación integrada al proceso creativo. La exposición del proyecto se presentó en el Museu de Lanifícios da Universidade da Beira Interior, en Covilhã, Portugal. ____ ABSTRACT: Proceedings of the International Symposium Montanha Mágica Arte e Paisagem. Universidade da Beira Interior, Covilhã, November 20–22, 2019.* This contribution, included in the proceedings Montanha Mágica (MM2019), presents the concepts and outcomes of the artistic residency by Jesús Osorio, carried out over three months at the Universidade da Beira Interior (UBI), coordinated by Francisco Paiva, with support from the Faculty of Fine Arts at the University of Granada and collaboration with New Hand Lab. The project explores perceptions of the mountainous territory through mental images, memories, and anticipations, reinterpreted via experimental processes including drawing, distortions, playful interventions, and inventive strategies, resulting in a visual body of work that combines reality and imagination. The outcomes are manifested in objects, drawings, and expanded painting, reflecting both the physical sensations of exploration and the memory and imagination involved, offering an integrated approach to the creative process. The exhibition of the project was presented at the Museu de Lanifícios da Universidade da Beira Interior, in Covilhã, Portugal. https://hdl.handle.net/10481/111769 Estrategias de materialización para ideas invisibles Osorio Porras, Jesús La idea que aún no ha sido dibujada es, casi siempre, inconsistente y difícil de atrapar. Ante un papel en blanco todo corre el peligro de disolverse y la propia materia acaba por determinar el proceso y el resultado. Para capturar y fijar algo tan difícil de materializar e ir más lejos sin caer en la tentación de conformarnos con los primeros resultados, experimentamos con distintos procesos y estrategias de dibujo. Este texto gira en torno a algunas metodologías de trabajo que nos han resultado especialmente útiles, tanto en el desarrollo de proyectos personales como en el contexto docente. Todas parten del dibujo pequeño, espontáneo y rápido, en conexión mental con las ideas, a menudo desde la abstracción, desde el juego gestual y físico, y con intención expresiva y compositiva. Materializar ideas invisibles a través del dibujo múltiple y seriado nos permite manejar infinidad de posibilidades en libertad, manteniendo la mirada amplia sobre el proceso, sin compromiso con el material o el tiempo, y sin caer en la trampa de las primeras opciones. ___ENGLISH The idea that has not yet been drawn is, almost always, inconsistent and hard to fix. Before a blank piece of paper, everything runs the risk of dissolving and the material itself ends up determining the process and the result. To capture and fix something so difficult to materialize, we experimented with different drawing processes and strategies. This text is about some work methodologies that have been especially useful to us, both in the development of personal projects and in the teaching context. They all start from small, quick and almost automatic drawing, always in mental connection with ideas, often from abstraction, from gestural and physical play, and with expressive and compositional intention. Materializing invisible ideas through multiple and serial drawing allows us to handle infinite possibilities freely, keeping a broad view of the process, without commitment to material or time, and without falling into the trap of the first options. https://hdl.handle.net/10481/110943 Utopías y distopías en la práctica artística transdisciplinar y su influencia en el diseño de metodologías educativas en la academia Tornero Lorenzo, María Paz The paper examines the philosophical approach linked to the concept of “intrahistory” formulated by Unamuno, focusing the analysis on everyday sounds and on those dimensions of experience that remain outside the official historical narrative. From this perspective, the soundscape is understood as a cultural record and as a methodological tool for research-creation, integrating fieldwork, artistic experimentation, and the collective construction of knowledge. The process and its outcomes were subsequently disseminated through a radio program at the University of Granada, where the applied methodology was explained and the resulting compositions were presented. https://hdl.handle.net/10481/110755 Soundscapes colaborativos: acciones sonoras en época de crisis Tornero Lorenzo, María Paz From a philosophical (and anthropological) perspective, we could approach the scene of field recordings based on the sounds generated by everyday actions as a representation of lesser-known culture, which provides new data for the understanding of traditions where the metaphors of the citizens of a particular place—and likewise of specific individual characteristics—are found. Regarding intrahistory, the term has its origin thanks to the writer Miguel de Unamuno, in the book En torno al casticismo (1902), where it is used to refer to traditional life. This term refers to a different kind of history, one that differs from what appears in newspaper headlines. It therefore means revealing every event that has remained in the shadow of what is historically better known. Intrahistory is, for the writer, that which happens but is not published. Examples of intrahistory throughout history can be found in the traces of art, dance, literature, and music. However, sounds seem not to have enjoyed the same level of relevance. To clarify this statement, let us consider the relationship between history, political power, and the anthem. The sounds of intrahistory—those that have remained silent, those that describe everyday life—are the ones that, in this project, will be studied, analyzed, and presented from both individuality—the work of scientific field research and the creation of a project—and collectivity—group decisions—in order, ultimately, to offer sound compositions on the Internet. https://hdl.handle.net/10481/110456 Los espacios públicos y el mobiliario urbano en la Granada de la Posguerra Segarra Lagunes, Silvia Susana Es conocido el hecho de que en la primera mitad del siglo XX se formularon planes de expansión y se emprendieron obras de modernización en diversas ciudades españolas. Granada no fue la excepción. El inicio de la dictadura estuvo marcado por la alcaldía de Antonio Gallego Burín, historiador del arte y periodista, quien, desde muy joven, había destacado por su actividad a favor de la cultura. En los años de la II República había expresado, en diversas ocasiones, sus ideas en relación al desarrollo urbano de la ciudad. Los periodos de gestión de Gallego Burín (1938-40 y 1941-51) tuvieron especial relevancia para las intervenciones urbanas y para la configuración de los espacios públicos y su mobiliario.; As is well known, in the first half of the 20th century, plans for urban development were formulated and modernization works were undertaken in several Spanish cities. Granada was not the exception. The beginning of the dictatorship was marked by the mayoralty of Antonio Gallego Burín, art historian and journalist, who, since he was very young, had stood out for his activity in favor of culture and, during the years of the Second Republic, had expressed, on several occasions, his ideas in relation to the urban development of the city. Gallego Burín’s ruling periods (1938-40 and 1941-51) were very relevant to urban interventions and for the configuration of public spaces and their furnishings. El II Simposio de la FHD sobre Diseño y Franquismo se llevará a cabo el 22 y 23 de febrero de 2018 en el Museu del Disseny de Barcelona, con un programa que incluye conferencias, bloques temáticos y un cóctel de bienvenida. Se abordarán temas como la modernización del diseño, la institucionalización del mismo en el contexto franquista y la influencia de la diáspora del talento español. La inscripción tiene un costo que varía según la fecha y categoría de los participantes, e incluye acceso a diversas actividades y materiales del simposio.