https://hdl.handle.net/2072/478775 2026-04-19T22:32:58Z https://hdl.handle.net/2445/228850 Lenguas inquisitoriales: intérpretes y agentes del Santo Oficio en puertos y cárceles andaluzas Rueda Ramírez, Pedro José Los lenguas o intérpretes del Santo Oficio sevillano identificados permite detectar tres grupos: el primero, intérpretes que acompañaban a comisarios en visitas a navíos, mayormente cónsules comerciales extranjeros; el segundo, exiliados irlandeses, ingleses y escoceses católicos, algunos con roles de traductores y en algunos casos militantes católicos que llegan a escribir textos; el tercero, jesuitas de Sevilla y Cádiz, especialmente los miembros de seminarios ingleses, estuvieron presentes las cárceles y colaboraron con la Inquisición. Estas lenguas del Santo Oficio facilitaban la comunicación en un mundo interconectado y una realidad multilingüe, logrando que pudieran recabar información, recoger libros en lengua inglesa, francesa u holandesa, detener a extranjeros y colaborar elaborando traducciones. 2026-04-13T07:13:18Z https://hdl.handle.net/2445/226024 Chapbooks against the machine: analog co-writing and publishing as a collective geography of AI refusal Senabre Hidalgo, Enric; Espelt, Ricard This article presents pliegOS.net, a collaborative action-research project exploring chapbook-making as a low-tech, community-driven practice of analog resistance to AI-generated content. Combining zine culture, digital commons tools, and on-site publishing activities, pliegOS develops situated workshops where participants co-write, print, and share one-page booklets in real time. These ephemeral fanzines – whether typed, drawn, collaged, or spoken into existence – circulate immediately as tangible artifacts, sent by post or distributed on-site at festivals, residencies, and classrooms. Rather than reject digital tools altogether, this project navigates the tension between collaborative software and generative algorithms. Alongside libre pagination tools and cloud pads, has recently experimented with obfuscated PDFs to complicate machine readability. Through these strategies, their promoters understand AI refusal as a series of gestures that reclaim slowness, imperfection, and embodied co-creation. This article brings together narrative fragments, fieldnotes, workshop images, and a summary of a recent collective experiment reflecting on AI. In doing so, it signals both historical and emerging directions for resisting AI excesses and offers a practical ‘analog creativity resistance toolkit’. Engaging with chapbook genealogies, the project aligns with cultural geography debates on materiality, authorship, and infrastructures of mediation. As an essay voiced by the text itself, the article offers not just a summary of the project but a live artifact of it, emerging, as it does, at the intersection of the human, the algorithmic, and the editorial commons. In the process, it proposes analog publishing as a convivial method of critical inquiry and a plural, embodied, and relational geography of writing and reading otherwise. 2026-01-23T12:15:45Z https://hdl.handle.net/2445/223740 Google services for journalists and media: Recommendations for Google Discover and Google News Lopezosa, Carlos; Cordeiro, Douglas Farias; López Munuera, Olaya; Guallar, Javier Podeu consultar la versió en castellà: https://hdl.handle.net/2445/223742; This chapter explores the role of Google News and Google Discover as key platforms for enhancing the visibility of digital media. Through a practical approach, it analyzes their functionalities, implications, and differences, providing specific recommendations for journalists and editors aiming to optimize content on these services. Google News functions as a news aggregator focused on recency and credibility, while Google Discover offers personalized content recommendations based on user behaviour. Best practice guidelines are proposed for both platforms, aiming to improve digital presence and face algorithmic challenges without compromising journalistic quality. 2025-10-20T10:16:04Z https://hdl.handle.net/2445/223398 Cuerpos desorientados: propiocepción queer en Las mil y una (2020) de Clarisa Navas; Disoriented bodies: queer proprioception in one in a thousand (2020) by Clarisa Navas Mourenza, Daniel; Battaglia, Diana [spa] Este artículo analiza la película argentina Las mil y una (2020) de Clarisa Navas desde la fenomenología queer de Sara Ahmed y la teoría cinematográfica fenomenológica, una corriente crítica que ha marcado el giro corporal en los estudios cinematográficos. A partir de estas teorías, se lee la desorientación de los personajes queer de la película como una manera alternativa de habitar el espacio, una manera «oblicua» y «desorientada» que no se adecua a un espacio que está preparado para la gente «recta». El artículo introduce el concepto de «propiocepción queer» para analizar el deambular de los cuerpos disidentes de esta película, que no logran alinearse con una posición horizontal ni con una vertical, así como la manera en la que esta desviación de la normatividad se transmite sensorial y corporalmente a les espectadores. Finalmente, se argumenta que esta película, aunque a ratos parece pertenecer a una u otra de las tendencias que Gonzalo Aguilar encontró en el Nuevo Cine Argentino, la sedentaria y la nómada, acaba por no alinearse con ninguna. De esta manera, Las mil y una expresa corporalmente una manera oblicua de estar en el mundo, que la audiencia encarna propioceptivamente en su propio cuerpo.; [eng] This article analyses the Argentine film One in a Thousand (2020), directed by Clarisa Navas, by combining Sara Ahmed’s queer phenomenology with film phenomenology, a critical approach influenced by the corporeal turn in Film Studies. Drawing on these theories, the article addresses the disorientation of the film’s queer characters as an alternative way of inhabiting space, an «oblique» and «disoriented» way of being in the world that resists a space configured for straight people. The concept of «queer proprioception» is introduced to interpret the wandering of these dissident bodies, which fail to align with either horizontal or vertical axes of a straight life. The concept is also used to analyse how this deviation from the straight line is conveyed aesthetically to the audience through sensory and embodied experiences. Finally, it is argued that while the film might occasionally appear to align with one or the other of the sedentary and nomadic tendencies identified by Gonzalo Aguilar in the New Argentine Cinema, it ultimately resists alignment with either. Thus, One in a T housand corporeally expresses an oblique mode of being in the world, which is eventually embodied by the audience. 2025-09-26T07:36:00Z