Semiótica en Artes Combinadas: recorridos de una propuesta curricular

• Autores: Barrios Cristaldo, Cleopatra Katerina del Rosario; Silva Fernández, Alejandro Alfredo Rafael
• Año de publicación: 2016
• Idioma: español castellano
• Tipo de recurso: documento de conferencia
• Materia: Semiótica; Artes combinadas; Perspectiva interdisciplinar; Semiotics; Combined arts; Interdisciplinary perspective
• Institución: Universidad Nacional del Nordeste

Fil: Barrios Cristaldo, Cleopatra Katerina del Rosario. Universidad Nacional del Nordeste. Facultad de Artes, Diseño y Ciencias de la Cultura; Argentina.
Fil: Barrios Cristaldo, Cleopatra Katerina del Rosario. Instituto de Investigaciones Geohistóricas. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina.
Fil: Silva Fernández, Alejandro Alfredo Rafael . Universidad Nacional del Nordeste. Facultad de Artes, Diseño y Ciencias de la Cultura; Argentina.
Fil: Silva Fernández, Alejandro Alfredo Rafael . Instituto de Investigaciones Geohistóricas. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina.
The aim of this research is to outline the challenges and standards adopted in order to organize the Semiotics course of the bachelor’s degree in Combined Arts of the Faculty of Arts, Design and Cultural Sciences of the National University of the Northeast. The presentation focuses on two cleary defined aspects; first of all the challenge that involved the insertion of the subject in the plan of this Degree as it is the only one of its kind - because it does not follow the canonical conceptions of the great “Art” - conceived with a capital letter, as an essence or a transcendent entity- but, on the contrary, it makes a foothold in contemporary composite languages where sacralization and the ontological valuation of art is constantly put into question (Schaeffer: 2012). Secondly, closely connected with what have been mentioned before, this research tries to explain the ways in which the teaching team adopts the conception of semiotics from as an interdisciplinary perspective (Morris: 1985). It is not considered as a stabilized compartment of canonical postulates to apply which borders are impassable; but rather as a malleable, flexible conceptual and methodological “corpus”. In short, a corpus that is willing to be confronted and put into dialogue with other visions in terms of the complexity of the processes and discourses associated with contemporary artistic production.