{"id":4668,"date":"2018-03-30T04:49:54","date_gmt":"2018-03-30T02:49:54","guid":{"rendered":"http:\/\/kayapati.com\/demos\/julia\/?page_id=4668"},"modified":"2026-03-15T11:52:15","modified_gmt":"2026-03-15T09:52:15","slug":"bibliografia","status":"publish","type":"page","link":"https:\/\/www.ub.edu\/cuerposconectados\/bibliografia\/","title":{"rendered":"Bibliograf\u00eda"},"content":{"rendered":"<p>[vc_row][vc_column el_class=\u00bbjs-archid-nav archid-biblio\u00bb][vc_column_text]<\/p>\n<h2><span style=\"color: #ff0000;\"><strong>A<\/strong><\/span><\/h2>\n<ul>\n<li>19artistsversuscovid19 (8 de septiembre de 2022). <strong>Artistas contra la Covid-19<\/strong>. Instagram. <a href=\"https:\/\/www.instagram.com\/19artistsversuscovid19\/\">https:\/\/www.instagram.com\/19artistsversuscovid19\/<\/a> \u00a0[Consultado: 07\/04\/2024]<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Adler, J. (2024). <strong>Desv\u00edos de la inteligencia artificial en las artes tecnol\u00f3gicas: algoritmos, cuerpos, afectos y otras materialidades hacia el desmantelamiento del mito de la novedad<\/strong>. <em>Eik\u00f3n Imago<\/em>, 13, e90227. <a href=\"https:\/\/doi.org\/10.5209\/eiko.90227\">https:\/\/doi.org\/10.5209\/eiko.90227<\/a><\/li>\n<li>Aguilar, D. y Said, E. (2010)<strong>\u00a0Identidad y subjetividad en las redes sociales virtuales: caso de Facebook<\/strong>. <em>Zona Pr\u00f3xima<\/em> n. 12 (Enero-Junio 2010) Barranquilla: Universidad del Norte, 190-207: &lt;<a href=\"http:\/\/www.redalyc.org\/articulo.oa?id=85316155013\">http:\/\/www.redalyc.org\/articulo.oa?id=85316155013<\/a>&gt;\u00a0 [Consultado: 09\/07\/2018]<\/li>\n<li>Akyol, P. K. (2020). <strong>Museum Activities During and After the Covid-19 Pandemic<\/strong>. <em>Milli Folklor<\/em>, (127). 72-86<\/li>\n<li>Agostino, D., Arnaboldi, M., y Lampis, L. (2020) <strong>Italian state museums during\u00a0the COVID-19 crisis: from onsite closure to online openness<\/strong>. <em>Museum\u00a0Management and Curatorship<\/em>, 35(4), 362-372. <a href=\"https:\/\/doi.org\/10.1080\/09647775.2020.1790029\">https:\/\/doi.org\/10.1080\/09647775.2020.1790029<\/a><\/li>\n<li>Agostino, D., Arnaboldi, M., y Diaz, M. (2020). <strong>New development: COVID-19\u00a0 as\u00a0an accelerator of digital\u00a0 transformation in public service delivery.<\/strong> <em>Public\u00a0Money &amp; Management<\/em>. <a href=\"https:\/\/doi.org\/10.1080\/09540962.2020.1764206\">https:\/\/doi.org\/10.1080\/09540962.2020.1764206<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Albar Mansoa, J. (coord.). (2024). <em><strong>Innovaci\u00f3n y expresi\u00f3n: Un recorrido por las artes, la cultura visual y la inteligencia artificial en la era digital<\/strong><\/em>. Madrid: Dykinson<\/li>\n<li>Albarr\u00e1n, J. y Estella I. (eds) (2015) <em><strong>Ll\u00e1malo performance: historia, disciplina y recepci\u00f3n<\/strong><\/em>. Madrid: Brumaria.<\/li>\n<li>Albarr\u00e1n, J. (2017) <strong>Representaciones del g\u00e9nero y la sexualidad en el arte contempor\u00e1neo espa\u00f1ol.<\/strong> VV.AA. Foro de Educaci\u00f3n n. 9. <em>44 Congreso de j\u00f3venes fil\u00f3sofos<\/em>, Madrid: Universidad Aut\u00f3noma de Madrid.<\/li>\n<li>Aliaga, J. V. (1997) <em><strong>Bajo vientre. Representaciones de la sexualidad en la cultura y el arte contempor\u00e1neos.<\/strong><\/em> Valencia: Direcci\u00f3 General de Museus i Belles Arts. Generalitat Valenciana.<\/li>\n<li>Alonso, L., De la Colina, L., Larra\u00f1aga, J., Lupi\u00f3n, D. &amp; Mateo, J. E. (Eds.) (2020). <em><strong>Confi-nad+s. Arte y Tecnosfera<\/strong> <\/em>#2. Brumaria.<\/li>\n<li>Alvarado Vivas, S., &amp; Mart\u00ednez, L. M. (2020). <strong>Inveniam Locum: El encuentro de las narrativas transmedia y el arte en relatos migratorios del mundo<\/strong>. <em>Index, Revista De Arte contempor\u00e1neo<\/em>, (09), 130\u2013138.<a href=\"https:\/\/doi.org\/10.26807\/cav.v0i09.327\"> https:\/\/doi.org\/10.26807\/cav.v0i09.327<\/a><\/li>\n<li>Amorim, Jo\u00e3o &amp; Teixeira, Luis. (2020). <strong>Art in the Digital during and after Covid: Aura and Apparatus of Online Exhibitions<\/strong>. <em>Rupkatha Journal on Interdisciplinary Studies in Humanities<\/em>. 12. <a href=\"https:\/\/dx.doi.org\/10.21659\/rupkatha.v12n5.rioc1s1n2\">https:\/\/dx.doi.org\/10.21659\/rupkatha.v12n5.rioc1s1n2<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Anantrasirichai N. y Bull D. (2022). <strong>Artificial intelligence in the creative industries: a review<\/strong>. <em>Artif. Intell. Rev<\/em>. 55, 589\u2013656. <a href=\"https:\/\/doi.org\/10.1007\/s10462-021-10039-7\">https:\/\/doi.org\/10.1007\/s10462-021-10039-7<\/a><\/li>\n<li>Anzieu, Didier (2013). <em><strong>El yo-piel<\/strong><\/em>. Madrid: Biblioteca Nueva. Original: <strong><em>Le Moi-peau<\/em><\/strong> (1974) Par\u00eds: Nouvelle Revue de Psychoanalyse.<\/li>\n<li>Ard\u00e9vol, E. y G\u00f3mez-Cruz, E. (2012) <strong>Cuerpo privado, imagen p\u00fablica: el autorretrato en la pr\u00e1ctica de la fotograf\u00eda digital<\/strong>. <em>Revista de Dialectolog\u00eda y Tradiciones Populares<\/em>, vol. 67, n. 1, 181-208, DOI: 10.3989\/rdtp.2012.07 \u00a0&lt;<a href=\"http:\/\/dra.revistas.csic.es\/index.php\/dra\/article\/viewFile\/270\/270\">http:\/\/dra.revistas.csic.es\/index.php\/dra\/article\/viewFile\/270\/270<\/a>&gt; [Consultado: 15\/08\/2019]<\/li>\n<li>Ard\u00e9vol, E. y G\u00f3mez-Cruz, E. (2010) <strong>Playful embodiement: body and identitity performance on the Internet<\/strong>. <em>Quaderns<\/em> 26, 41-60.<\/li>\n<li>Arena, F., Collotta, M., Pau, G., &amp; Termine, F. (2022). <strong>An overview of augmented reality<\/strong>. <em>Computers<\/em>, 11(2), 28. <a href=\"https:\/\/www.mdpi.com\/2073-431X\/11\/2\/28\">https:\/\/www.mdpi.com\/2073-431X\/11\/2\/28<\/a>\u00a0 [Consultado: 08\/04\/2024]<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Arielli, E. y Manovich, L. (2022). <strong>AI-aesthetics and the Anthropocentric Myth of Creativity<\/strong>. <em>Nodes Journal of Art and Neuroscience<\/em>. Fall 2022,\u00a0 <a href=\"https:\/\/manovich.net\/index.php\/projects\/ai-aesthetics-and-the-anthropocentric-myth-of-creativity\">https:\/\/manovich.net\/index.php\/projects\/ai-aesthetics-and-the-anthropocentric-myth-of-creativity<\/a><\/li>\n<li>Armstrong, K. (2021). <strong>Virtual Visibility and the Film Festival Circuit<\/strong>. <em>Afterimage<\/em>, <em>48<\/em>(1), 10-18.<\/li>\n<li>Ascott, R. (1998). <em><strong>Art &amp; Telematics: toward the Construction of New Aesthetics<\/strong>.<\/em> A. Takada &amp; Y. Yamashita eds. Tokyo: NTT Publishing Co.<\/li>\n<li>Ates, M., Ravet, S., Ahmat, A. M., &amp; Fayolle, J. (2011) <strong>An Identity-Centric Internet: Identity in the Cloud, Identity as a Service and other delights<\/strong>. In Proceedings of the 2011 6th International Conference on Availability, Reliability and Security, ARES 2011, 555\u2013 560. <a href=\"https:\/\/doi.org\/10.1109\/ARES.2011.85\">https:\/\/doi.org\/10.1109\/ARES.2011.85<\/a><\/li>\n<li><span class=\"a\">Av<span class=\"l7\">gi<span class=\"l6\">tid<span class=\"l8\">ou\u00a0A\u00a0(2003)\u00a0<strong>Performances\u00a0of\u00a0the\u00a0self. <\/strong><\/span><\/span><\/span><\/span><span class=\"a\"><em>Digita<\/em><span class=\"l6\"><em>l\u00a0Creativity.<\/em> 14(3), <\/span><\/span><span class=\"a\">131\u2013138.<\/span><\/li>\n<li>\u00c1vila-Vald\u00e9s, N. (2022). <strong>Arte, salud comunitaria y COVID-19: \u00bfqu\u00e9 ha pasado? \u00bfqu\u00e9 pode<\/strong><strong>mos hacer?<\/strong>\u00a0<em>Arte, Individuo y Sociedad<\/em>, 34 (3), 971-985. <a href=\"https:\/\/dx.doi.org\/10.5209\/aris.72494\">https:\/\/dx.doi.org\/10.5209\/aris.72494 <\/a><\/li>\n<\/ul>\n<h2><span style=\"color: #ff0000;\"><strong>B<\/strong><\/span><\/h2>\n<ul>\n<li>Bachman, J. R., &amp; Hull, J. S. (2024). <strong>From the Theatre to the Living Room: Comparing Queer Film Festival Patrons and Outcomes before and during the COVID-19 Pandemic<\/strong>. <em>Annals of Leisure Research<\/em>, <em>27<\/em>(1), 124-143.<\/li>\n<li>Baigorri, L. (2003) <strong>Del artivismo simulatorio a las t\u00e1cticas de suplantaci\u00f3n en la Red. No m\u00e1s arte, s\u00f3lo vida. 2.0.<\/strong> <em>TELOS<\/em> n.56. Madrid:Fundaci\u00f3n Telef\u00f3nica.<\/li>\n<li>Baigorri, L. y Cilleruelo, L. (2006) <em><strong>Net.art: Pr\u00e1cticas art\u00edsticas y est\u00e9ticas de la red<\/strong><\/em>. Madrid: Brumaria.<\/li>\n<li>Baigorri, L. (2019)<strong>\u00a0Identidades robadas. Arte, apropiaci\u00f3n y extimidad en la vida online.\u00a0<\/strong><em>Arte, Individuo y Sociedad<\/em>,\u00a0<em>31<\/em>(3), 605-624. <a href=\"https:\/\/doi.org\/10.5209\/aris.61417\">https:\/\/doi.org\/10.5209\/aris.61417<\/a><\/li>\n<li>Baigorri, L. y Ortu\u00f1o, P. (2021) \u00a0<em><strong>Cuerpos conectados. Arte, identidad y autorrepresentaci\u00f3n en la sociedad transmedia<\/strong><\/em><strong><em>.<\/em><\/strong> Madrid: <a href=\"https:\/\/www.dykinson.com\/libros\/arte-identitario-en-la-no-presencialidad\/9788410707429\/\">Dykinson<\/a>.\u00a0 <a href=\"https:\/\/doi.org\/10.2307\/j.ctv1s7cjm5\">https:\/\/doi.org\/10.2307\/j.ctv1s7cjm5<\/a><\/li>\n<li>Baigorri, L. y Ortu\u00f1o, P. (2024) \u00a0<em><strong>Arte identitario en la no-presencialidad<\/strong><\/em><strong><em>.<\/em><\/strong> Madrid: <a href=\"https:\/\/www.dykinson.com\/libros\/cuerpos-conectados\/9788413774411\/\">Dykinson<\/a>. <a href=\"https:\/\/doi.org\/10.2307\/jj.25003631\">https:\/\/doi.org\/10.2307\/jj.25003631<\/a><\/li>\n<li>Banco de la Rep\u00fablica (6 de noviembre de 2022). <em><strong>Intercambios art\u00edsticos en \u00e9poca de pandemia:<\/strong> <strong>Interior\/Exterior<\/strong>.<\/em> Banrepcultural. <a href=\"https:\/\/www.banrepcultural.org\/exposiciones\/interior-exterior\">https:\/\/www.banrepcultural.org\/exposiciones\/interior-exterior\u00a0<\/a> \u00a0[Consultado: 07\/04\/2024]<\/li>\n<li>Barker<span class=\"al-author-delim\">, N.; <\/span>Burd, J. (2024)\u00a0 <strong>Living Capsules: Reflections on an Ongoing Art-Sociology Collaboration.<\/strong>\u00a0<em>Leonardo<\/em> 2024. \u00a0MIT Press. 257\u2013263.<a href=\"https:\/\/doi.org\/10.1162\/leon_a_02466\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.1162\/leon_a_02466<\/a><\/li>\n<li>Barrios, X. y Catal\u00e1n, V. (2018)<strong>\u00a0Arte, ocio y trabajo en la era de la imagen electr\u00f3nica. <\/strong><strong>Sobre la auto-representaci\u00f3n precaria en la obra de Amalia Ulman. <\/strong><em>Arte y Pol\u00edticas de Identidad, <\/em>vol. 19 (2018): <em>Condici\u00f3n precaria y arte. (<\/em>149-164). <a href=\"https:\/\/revistas.um.es\/reapi\/article\/view\/359841\/256781\">https:\/\/revistas.um.es\/reapi\/article\/view\/359841\/256781<\/a> [Consultado: 20\/03\/2020]<\/li>\n<li>Baudrillard, J. (1988) <em><strong>El otro por s\u00ed mismo<\/strong><\/em>. Barcelona: Anagrama.<\/li>\n<li>Bauman, Z. (2005) <em><strong>Vida l\u00edquida<\/strong><\/em>. Barcelona: Espasa.<\/li>\n<li>Bauman, Z. (2012) <em><strong>This Is Not a Diary<\/strong><\/em>. Cambridge: Polity Press.<\/li>\n<li>Beiguelman, G. (2013) <strong>Arte p\u00f3s-virtual: Cria\u00e7\u00e3o e agenciamento no tempo da Internet das Coisas e da pr\u00f3xima natureza<\/strong>. <em>Cyber-arte-cultura \u2013 A trama das redes<\/em>. Vila Velha: Seminarios INternacionais Museu Vale 2013. 147-171.<\/li>\n<li>Belenioti, Z. C. (2022). <strong>COVID-19 Resilience Via Digital Cultural Heritage; Digital Life in Museums and Festivals during the Anthropause<\/strong>. <em>International Journal of Technology Marketing<\/em>, <em>16<\/em>(4), 403-420.<\/li>\n<li>Bergala, A. (2008) <strong>Si <em>yo <\/em>me fuera contado<\/strong>. <em>Cineastas frente al espejo<\/em>. Madrid: T &amp; B Editores. 27-34. &lt;<a href=\"https:\/\/dialnet.unirioja.es\/servlet\/articulo?codigo=2862270\">https:\/\/dialnet.unirioja.es\/servlet\/articulo?codigo=2862270<\/a>&gt; [Consultado: 15\/08\/2019]<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Berryman, J. (2020). <strong>Creativity and Style in GAN and AI Art: Some Art-historical Reflections<\/strong>. <em>AI &amp; Society<\/em>, 35(4), 1-12.<\/li>\n<li>Berzosa, A. (2014) <em><strong>Homoherej\u00edas f\u00edlmicas: cine homosexual subversivo en Espa\u00f1a en los a\u00f1os setenta y ochenta.<\/strong><\/em> Madrid: Brumaria.<\/li>\n<li>Binson, B. (2021). <strong>Metaverse and crypto art during the covid-19 pandemic<\/strong>. <em>Journal of Urban Culture Research<\/em>, vol. 23, (2021): 1-2.<\/li>\n<li>Blas, S. (2017) <strong>V\u00eddeo, identidad y precariedad. Tentativas futuras: narrativas e identidades en los nuevos modos de hacer v\u00eddeo en el contexto espa\u00f1ol<\/strong>. Mart\u00ednez-Collado, A. y Panea, JL. (eds.). <em>Secuencias de la experiencia, estadios de lo visible. Aproximaciones al videoarte espa\u00f1ol.<\/em> Madrid: Brumaria y Ediciones de la Universidad de Castilla-La Mancha. 139-176.<\/li>\n<li>Blume, J. (2017). <strong>Exploring the Potentials and Challenges of Virtual Distribution of Contemporary Art.<\/strong> In U. U. Fr\u00f6mming, S. K\u00f6hn, S. Fox, &amp; M. Terry (Eds.),\u00a0<em>Digital Environments: Ethnographic Perspectives Across Global Online and Offline Spaces, <\/em>97\u2013116. Transcript Verlag. <a href=\"http:\/\/www.jstor.org\/stable\/j.ctv1xxrxw.10\">http:\/\/www.jstor.org\/stable\/j.ctv1xxrxw.10<\/a> [Consultado: 15\/08\/2019]<\/li>\n<li>Boddington, G. (2023). <strong>The Internet of Bodies\u2014alive, connected and collective: the virtual physical future of our bodies and our senses<\/strong>. \u00a0<em>AI &amp; Society<\/em>,\u00a0 (38), 1897\u20131913.\u00a0<a href=\"https:\/\/doi.org\/10.1007\/s00146-020-01137-1\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.1007\/s00146-020-01137-1<\/a><\/li>\n<li>Boido, P. (2021). <strong>Mirarnos a los ojos (volver a). A prop\u00f3sito de la Bienal de la Imagen en Movimiento 2020<\/strong>, <em>Kil\u00f3metro 111<\/em>, 11\/01\/2021.\u00a0 <a href=\"https:\/\/kilometro111cine.com.ar\/mirarnos-a-los-ojos-volver-a\/\">https:\/\/kilometro111cine.com.ar\/mirarnos-a-los-ojos-volver-a<\/a> [Consultado: 07\/04\/2024]<\/li>\n<li>Bollmer, G., &amp; Guinness, K. (2020). <strong>Empathy and Nausea: Virtual Reality and Jordan Wolfson\u2019s Real Violence.<\/strong> <em>Journal of Visual Culture<\/em>, <em>19<\/em>(1), 28-46.<\/li>\n<li>Bonafoux, P. (2004). <em><strong>L\u2019autoportrait au XXe si\u00e8cle. Moi Je, par Soi-meme<\/strong>. <\/em>Par\u00eds: Diane de Selliers, \u00e9diteur.<\/li>\n<li>Bookchin, N. y Stimson, B. (2011). <strong>Out in Public: Natalie Bookchin in Conversation with Blake Stimson<\/strong>. Geert Lovink y Rachel Somers Miles (eds). <em>Video Vortex Reader II: moving images beyond YouTube, <\/em>Amsterdam: Institute of Network Cultures. &lt;<a href=\"http:\/\/www.networkcultures.org\/_uploads\/%236reader_VideoVortex2PDF.pdf\">http:\/\/www.networkcultures.org\/_uploads\/%236reader_VideoVortex2PDF.pdf<\/a>&gt; [Consultado: 07\/08\/2018].<\/li>\n<li>Bookchin, N. y Kupfer, P. (2016) <strong>Interview: Artist Natalie Bookchin<\/strong> with Editor Paula Kupfer. Exposici\u00f3n <em>Public, Private, Secret <\/em>(2016-2017), New York: International Center of Photography Museum. &lt;<a href=\"https:\/\/www.publicprivatesecret.org\/articles-essays-interviews\/interview-artist-natalie-bookchin-with-editor-paula-kupfer\">https:\/\/www.publicprivatesecret.org\/articles-essays-interviews\/interview-artist-natalie-bookchin-with-editor-paula-kupfer<\/a>&gt; [Consultado: 15\/08\/2019]<\/li>\n<li>Booth, P., Ogundipe, A., &amp; R\u00f8yseng, S. (2020). <strong>Museum leaders\u2019 perspectives on social media.<\/strong> <em>Museum Management and Curatorship<\/em>, 35(4), 373-391. <a href=\"https:\/\/doi.org\/10.1080\/09647775.2019.1638819\">https:\/\/doi.org\/10.1080\/09647775.2019.1638819<\/a><\/li>\n<li>Bosma, J. (1999) <strong>Keiko Suzuki and Mouchette: Some thoughts about constructions of personalities on the net<\/strong>. <em>Rhizome<\/em> &lt;<a href=\"http:\/\/www.hnet.uci.edu\/mposter\/syllabi\/readings\/nakamura.html\">http:\/\/rhizome.org\/discuss\/view\/28318\/<\/a>&gt; (Consultado: 10\/01\/2017)<\/li>\n<li>Braidotti, R. (2002) <strong>Un ciberfeminismo diferente<\/strong>. <em>Debats: Del post al ciberfeminismo<\/em>, n. 76, 100-117.<\/li>\n<li>Bravo, M. (2020). <em><strong>Dr. Zanabili<\/strong><\/em> [Imagen]. <strong>Covid Photo Diaries<\/strong>. <a href=\"https:\/\/www.covidphotodiaries.org\/dr-zanabili-manu-brabo\/\">https:\/\/www.covidphotodiaries.org\/dr-zanabili-manu-brabo\/<\/a> \u00a0[Consultado: 07\/04\/2024]<\/li>\n<li>Brea, JL. (2004) <strong>F\u00e1bricas de identidad (Ret\u00f3ricas del autorretrato)<\/strong>. <em>El Tercer Umbral. Estatuto de las pr\u00e1cticas art\u00edsticas en la era del capitalismo cultural<\/em>. Murcia: Cendeac. (119-129).<\/li>\n<li>Brea, J. L. (2005) <em><strong>Estudios visuales. La epistemolog\u00eda de la visualidad en la era de la globalizaci\u00f3n<\/strong><\/em>, Madrid: Akal.<\/li>\n<li>Brea, J. L. (2010) <em><strong>Las tres eras de la imagen. Imagen-materia, film, e-image<\/strong><\/em>, Madrid: Akal.<\/li>\n<li>Breitwieser, S. (2001). <em><strong>Double life: Identity and transformation in contemporary arts<\/strong>.<\/em> Viena y K\u00f6ln: Generali Foundation y Verlag der Buchhandlung Walter K\u00f6nig.<\/li>\n<li>Brown, K. (2014). <em><strong>Interactive Contemporary Art: Participation in Practice<\/strong><\/em>, I.B. Tauris.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Browne, K. (2022). <strong>Who (or What) Is an AI Artist?\u00a0<\/strong><span class=\"citation_source-journal italicized\"><i>Leonardo<\/i><\/span>, 55(2), 130\u2013134. <a href=\"https:\/\/doi.org\/10.1162\/leon_a_02092\">https:\/\/doi.org\/10.1162\/leon_a_02092<\/a><\/li>\n<li>Brusadin, V. (2016). <strong>Amalia Ulman y la ficci\u00f3n ideol\u00f3gica de Instagram<\/strong>. <em>El\u00bb fake\u00bb y el asalto a la comunicaci\u00f3n. Evoluci\u00f3n de las pr\u00e1cticas art\u00edsticas y activistas de manipulaci\u00f3n de los medios<\/em> (1968-2014). Tesis doctoral\u00a0 16\/01\/2016.\u00a0 Facultad de Bellas Artes. Barcelona: Universitad de Barcelona. &lt;<a href=\"http:\/\/hdl.handle.net\/2445\/97567\">http:\/\/hdl.handle.net\/2445\/97567<\/a>&gt; \u00a0[Consultado: 20\/03\/2020]<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Burbano, A. y West, R. (coord.) (2020). NODO 26. <strong>IA, arte y dise\u00f1o: Cuestionando el aprendizaje autom\u00e1tico<\/strong>. <em>Artnodes.<\/em> <a href=\"https:\/\/raco.cat\/index.php\/Artnodes\/issue\/view\/28774\">https:\/\/raco.cat\/index.php\/Artnodes\/issue\/view\/28774<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span> Burbano, A. y West, R. (coord.) (2020). NODO 26. <strong>IA, arte y dise\u00f1o: Cuestionando el aprendizaje autom\u00e1tico<\/strong>. <em>Artnodes.<\/em> <a href=\"https:\/\/raco.cat\/index.php\/Artnodes\/issue\/view\/28774\">https:\/\/raco.cat\/index.php\/Artnodes\/issue\/view\/28774<\/a><\/li>\n<li>\n<section>\n<div class=\"pill\">\n<div class=\"pill__item\">\n<div class=\"export-citations\">\n<div id=\"citationToCopy\" class=\"csl-response\">\n<div class=\"csl-entry\">Burd, J. B. (2023). <strong>Sound-vibration: Relations between bodies, low frequencies, and multisensory experiments.<\/strong>\u00a0<i>Multimodality &amp; Society<\/i>,\u00a0<i>3<\/i>(4), 433-443.\u00a0 <a href=\"https:\/\/doi.org\/10.1177\/26349795231211434\">https:\/\/doi.org\/10.1177\/26349795231211434<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/li>\n<li>Burd, J. (2020) <strong>What Vibrates Within Us<\/strong>. <em>Adjacent<\/em>\u00a0Issue 7, New York: ITP &amp; IMA, Tisch School of the Arts, New York University. &lt;<a href=\"https:\/\/itp.nyu.edu\/adjacent\/issue-7\/what-vibrates-within-us\/\">https:\/\/itp.nyu.edu\/adjacent\/issue-7\/what-vibrates-within-us\/<\/a>&gt; \u00a0[Consultado: 06\/07\/2020]<\/li>\n<li>Burgos, E. (2017) <strong>La identidad como problema. Feminismos que interpelan<\/strong>. Mart\u00ednez-Collado, A. y Panea, JL. (eds.). <em>Secuencias de la experiencia, estadios de lo visible. Aproximaciones al videoarte espa\u00f1ol.<\/em> Madrid: Brumaria y Ediciones de la Universidad de Castilla-La Mancha. 295-312.<\/li>\n<li>Butler, J. (2002) <em><strong>Cuerpos que importan (sobre los l\u00edmites materiales y discursivos del sexo)<\/strong>.<\/em> Buenos Aires: Paid\u00f3s.<\/li>\n<li>Butler, J. (2006) <em><strong>Deshacer el g\u00e9nero<\/strong><\/em>. Barcelona: Paid\u00f3s.<\/li>\n<li>Butler, J. (2007) <em><strong>El g\u00e9nero en disputa: el feminismo y la subversi\u00f3n de la identidad.<\/strong><\/em> Barcelona: Paid\u00f3s.<\/li>\n<li>Byung-Chul, Han (2021).\u00a0<em><strong>No -cosas. Quiebras del mundo de hoy<\/strong><\/em>. Madrid: Taurus.<\/li>\n<\/ul>\n<h2><span style=\"color: #ff0000;\"><strong>C<\/strong><\/span><\/h2>\n<ul>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Calongne, Cynthia (2024). <strong>Emotion and inspiration through generative AI art<\/strong>. <em>The Pinnacle: A Journal by Scholar-Practitioners, 2<\/em>(3). <a href=\"https:\/\/doi.org\/10.61643\/c16282\">\u00a0<\/a><a href=\"https:\/\/doi.org\/10.61643\/c16282\">https:\/\/doi.org\/10.61643\/c16282<\/a><\/li>\n<li>Calvo, E.; Guerrero, J. &amp; Llorca I. (15 de diciembre de 2022). <em><strong>Covid Art Museum<\/strong><\/em>. Instagram. <a href=\"https:\/\/www.instagram.com\/covidartmuseum\/?hl=es-la\">https:\/\/www.instagram.com\/covidartmuseum\/?hl=es-la<\/a> \u00a0[Consultado: 07\/04\/2024]<\/li>\n<li>Cantalozella, J. (2019) <strong>Jonathan Mill\u00e1n:<\/strong> <strong>La intimidad sobreexpuesta: ejercicios art\u00edsticos de exterioridad<\/strong>. <em>Revista Est\u00fadio, artistas sobre outras obras<\/em>. Vol. 10, n. 28. 92-99.<\/li>\n<li>Cantarero, M. (2021). <strong>El arte como postraducci\u00f3n de la pandemia por la covid-19: el caso de The Covid Art Museum<\/strong>. En Flores Borjabad, Salud A. y P\u00e9rez Caba\u00f1a, R. (Coord.). <em>Nuevos retos y perspectivas de la investigaci\u00f3n en literatura, lingu\u0308\u00edstica y traducci\u00f3n<\/em>. Dykinson, 2189- 2210.<\/li>\n<li>Carmigniani, J., &amp; Furht, B. (2011). <strong>Augmented reality: an overview<\/strong>. <em>Handbook of augmented reality<\/em>, 3-46. <a href=\"http:\/\/pire.fiu.edu\/publications\/Augmented.pdf\">http:\/\/pire.fiu.edu\/publications\/Augmented.pdf<\/a>\u00a0 \u00a0[Consultado: 07\/04\/2024]<\/li>\n<li>Caro-Casta\u00f1o, L. (2012) <strong>Identidad mosaico. La encarnaci\u00f3n del yo en las redes sociales digitales<\/strong>, <em>Telos: Cuadernos de comunicaci\u00f3n e innovaci\u00f3n<\/em>, n. 91. 59-68.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Catal\u00e0, J.M. y Caballero, J. (2025). <strong><em>La Imaginaci\u00f3n Artificial. La imagen m\u00e1s all\u00e1 de la imagen<\/em><\/strong>. Madrid: C\u00e1tedra.<\/li>\n<li>Cerezuela Zaplana, JA. (2012) <strong>Confesiones captadas, registradas y transmitidas mediante dispositivos sonoros.<\/strong> <em>Arte y Pol\u00edticas de Identidad <\/em>\u00a0n.7, 75-89.<\/li>\n<li>Cerezuela Zaplana, JA. (2014) <em><strong>La confesi\u00f3n en la pr\u00e1ctica art\u00edstica audiovisual: modalidades, estrategias discursivas y expresiones del yo confesional <\/strong><\/em> [Tesis doctoral no publicada]. Facultad de Bellas Artes. Universitat Polit\u00e8cnica de Val\u00e8ncia. <a href=\"https:\/\/doi.org\/10.4995\/Thesis\/10251\/48472\">https:\/\/doi.org\/10.4995\/Thesis\/10251\/48472<\/a><\/li>\n<li>Ceriani, A. (2011) <em><strong>Arte del cuerpo digital. Nuevas tecnolog\u00edas y est\u00e9ticas contempor\u00e1neas<\/strong><\/em>.\u00a0\u00a0La Plata: Editorial de la Universidad de la Plata.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0 Cetinic, E., &amp; She, J. (2022). <strong>Understanding and Creating Art with AI: Review and Outlook<\/strong>. <em>ACM Transactions on Multimedia Computing, Communications, and Applications<\/em>, <em>18<\/em>(2), 1\u201322. <a href=\"https:\/\/doi.org\/10.1145\/3475799\">https:\/\/doi.org\/10.1145\/3475799<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Chatterjee, A. (2022) <strong>Art in an age of artificial intelligence<\/strong>. Front Psychol 13:1024449. <a href=\"https:\/\/doi.org\/10.3389\/fpsyg.2022.1024449\">https:\/\/doi.org\/10.3389\/fpsyg.2022.1024449<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span> Chedney-Lippold, J. (2017). <strong><strong>A New Algorithmic Identity. Soft Biopolitics and the Modulation of <\/strong><\/strong><strong>Control. <\/strong><em>Theory, Culture &amp; Society<\/em>, Vol. 28(6), 164-181. <a href=\"https:\/\/doi.org\/10.1177\/0263276411424420\">https:\/\/doi.org\/10.1177\/0263276411424420<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Chedney-Lippold, J. (2017). <strong><em>We are data. Algorithms and the making of our digital selves<\/em><\/strong>. Nueva York: NYU Press.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Choi, H. (2021). <strong>Generative AI Art Exploration and Image Generation Fine Tuning Techniques<\/strong>. <em>International Journal of Computer Vision<\/em>, 129(2), 123-145.<\/li>\n<li>Chuk, N. (2016) <strong>Self-made: Constructing identity at the threshold between virtual and physical realms<\/strong>. <em>Metaverse Creativity<\/em>, <em>6<\/em>(1\/2). 17\u201324. <a href=\"https:\/\/doi.org\/10.1386\/mvcr.6.1-2.7\">https:\/\/doi.org\/10.1386\/mvcr.6.1-2.7\u00a0<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Chun, R. S. (2025). <strong>Amplification of conventional female gender displays and reinforcement of Asian stereotypes in user-generated Artificial Intelligence (AI) images on social media<\/strong>. <em>Visual Communication<\/em>, 0(0). <a href=\"https:\/\/doi.org\/10.1177\/14703572241299109\">https:\/\/doi.org\/10.1177\/14703572241299109<\/a><\/li>\n<li>Cilleruelo, L. (2006). <strong>Experimentaci\u00f3n de nuevas narrativas est\u00e9ticas visuales en Internet.<\/strong> <em>Bellas Artes: Revista de Artes pl\u00e1sticas, Est\u00e9tica, Dise\u00f1o e Imagen<\/em>, 4 <a href=\"http:\/\/riull.ull.es\/xmlui\/handle\/915\/14841\">http:\/\/riull.ull.es\/xmlui\/handle\/915\/14841<\/a> \u00a0[Consultado: 10\/04\/2023]<\/li>\n<li>Cilleruelo, L. y Zubiaga, A. (2009) <strong>Juventud-melancol\u00eda: Acerca de la identidad y sus l\u00edmites<\/strong>. <em>Arte y Pol\u00edticas de Identidad<\/em>. Vol.1, 65-86.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Cilleruelo, L., Maeso, N., &amp; Abalia, A. (2021). <strong>La discriminaci\u00f3n algor\u00edtmica: Retos para la coeducaci\u00f3n en la sociedad del big data<\/strong>. En Arriaga, Abalia , &amp; Cilleruelo (Coords.), <em>Perspectiva de g\u00e9nero, m\u00fasica, arte y educaci\u00f3n. <\/em>Grao. 171\u2013185.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Coeckelbergh, M. (2020) <em><strong>\u00c9tica de la Inteligencia Artificial<\/strong><\/em>. Madrid: C\u00e1tedra (<em>AI Ethics<\/em>. The MIT Press).<\/li>\n<li>Coleman, B. y Shirky, C. (2011) <em><strong>Hello Avatar: Rise of the Networked\u00a0Generation<\/strong><\/em>, MIT Press.<\/li>\n<li>Coll-Espinosa, F. J. (2021). <strong>Im\u00e1genes de la Covid. Reflexiones sobre la emocionalidad resultante<\/strong>. <em>Arteterapia. Papeles de arteterapia y educaci\u00f3n art\u00edstica para la inclusi\u00f3n social<\/em>, 16(Especial), 19-26. <a href=\"https:\/\/doi.org\/10.5209\/arte.75876\">https:\/\/doi.org\/10.5209\/arte.75876<\/a><\/li>\n<li>Col\u00f3n, J. (2020). <em><strong>Exitus<\/strong><\/em> [Imagen]. <strong>Covid Photo Diaries<\/strong>. <a href=\"https:\/\/www.covidphotodiaries.org\/exitus-jose-colon\/\">https:\/\/www.covidphotodiaries.org\/exitus-jose-colon\/<\/a> \u00a0[Consultado: 07\/04\/2024]<\/li>\n<li>Confederaci\u00f3n de Museos L\u2019Internationale (3 de diciembre de 2022). <em><strong>Artistas en cuarentena.<\/strong><\/em> Museo Nacional Centro de Arte Reina Sof\u00eda. <a href=\"https:\/\/www.museoreinasofia.es\/linternationale\/artistas-cuarentena\">https:\/\/www.museoreinasofia.es\/linternationale\/artistas-cuarentena<\/a> \u00a0[Consultado: 07\/04\/2024]<\/li>\n<li>Conde-Salazar, J. (2011). <strong>Un cuerpo que no est\u00e1 all\u00ed<\/strong>, <em>Exit Imagen y Cultura: El cuerpo como objeto, 11 <\/em>(42), 16-22.<\/li>\n<li>Connor, M. (2014). <strong>Post-Internet: What It Is and What It Was<\/strong>. En A. Kholeif, O.: <em>You<\/em> <em>Are<\/em> <em>Here,<\/em> <em>Art<\/em> <em>After<\/em> <em>de<\/em> <em>Internet<\/em>. London: Cornerhouse and Space.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Contreras-Koterbay S. (2019). <strong>The teleological nature of digital aesthetics\u2013the new aesthetic in advance of artificial intelligence<\/strong>. <em>AM J. Art Media Stud.<\/em>2019 (20), 105\u2013112. <a href=\"https:\/\/doi.org\/10.25038\/am.v0i20.326\">https:\/\/doi.org\/10.25038\/am.v0i20.326<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Corby, J. (2022). <strong>Imagine: posthuman tragedy and the aura of AI-produced art<\/strong>. <em>CounterText<\/em> 8(3):435\u2013455. <a href=\"https:\/\/doi.org\/10.3366\/count.2022.0283\">https:\/\/doi.org\/10.3366\/count.2022.0283<\/a><\/li>\n<li>Cornell, L. (2006). <strong>Net results. Closing the gap between art and life online<\/strong>. <em>Timeout &lt;<\/em><a href=\"https:\/\/www.timeout.com\/newyork\/art\/net-results\">https:\/\/www.timeout.com\/newyork\/art\/net-results<\/a>&gt; [Consultado: 01\/02\/2020)<\/li>\n<li>Correa Garc\u00eda, R. I. (2011) <em><strong>Imagen y control social: Manifiesto por una mirada insurgente<\/strong><\/em>. Barcelona: Icaria editorial.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Cortina , A. (2024). <em><strong>\u00bf\u00c9tica o ideolog\u00eda de la inteligencia artificial? El eclipse de la raz\u00f3n comunicada en una sociedad tecnologizada<\/strong><\/em>. Madrid: Paid\u00f3s.<\/li>\n<li>Courchesne, Durand &amp; Roy (2014). <strong>Posture plattform and The Drawing Room: Virtual Teleportation in Ciberspace<\/strong>. <em>Leonardo<\/em>. Vol. 47. #4. 367- 374.\u00a0 <a href=\"https:\/\/doi.org\/0.1162\/LEON_a_00703\">https:\/\/doi.org\/0.1162\/LEON_a_00703<\/a><\/li>\n<li>Cover, R. (2016) <em><strong>Digital identities. Creating and Communicating the Online Self,<\/strong><\/em> Londres: Elsevier.<\/li>\n<li>Cox, G. <em>et al.\u00a0<\/em>(2021). <strong>Affordances of the Networked Image<\/strong>. <em>The Nordic Journal of Aesthetics<\/em>, v. 30, n. 61\u201362,\u00a0 40\u201345. <a href=\"https:\/\/doi.org\/10.7146\/nja.v30i61-62.127857\">https:\/\/doi.org\/10.7146\/nja.v30i61-62.127857<\/a>.<\/li>\n<li>Cruz, P. y Garc\u00eda, L. (2019) <strong>Cuerpo, m\u00e1scara y biopol\u00edtica. Estrategias de opacidad\u00a0 en la era del\u00a0<em>big data<\/em><\/strong>. Zarza N\u00fa\u00f1ez, T. &amp; S\u00e1nchez-Mo\u00f1ita, M. (Eds.).\u00a0<em>Los Flujos de la imagen.<\/em>\u00a0<em>Arte y Sociedad ASRI.<\/em> 17, 25-37.\u00a0 \u00a0&lt;<a href=\"https:\/\/revistaasri.com\/article\/view\/5379\">https:\/\/revistaasri.com\/article\/view\/5379<\/a> &gt; [Consultado: 23\/03\/2020]<\/li>\n<li>Cruz S\u00e1nchez, P.A. y Hern\u00e1ndez-Navarro, M.A. (eds.) (2004) <strong>Cartograf\u00edas del cuerpo. La dimensi\u00f3n corporal en el arte contempor\u00e1neo. <\/strong>Murcia: CENDEAC.<\/li>\n<li>Cuevas \u00c1lvarez, E. (2008) <strong>Del cine dom\u00e9stico al autobiogr\u00e1fico: caminos de ida y vuelta.<\/strong> <em>Cineastas frente al espejo<\/em>. Madrid: T &amp; B Editores. 101-120. &lt;<a href=\"https:\/\/dialnet.unirioja.es\/servlet\/articulo?codigo=2862332\">https:\/\/dialnet.unirioja.es\/servlet\/articulo?codigo=2862332<\/a>&gt; \u00a0[Consultado: 15\/08\/2019]<\/li>\n<li>Culp, E. (2004) <strong>De hu\u00e9spedes, par\u00e1sitos y anfitriones: la pr\u00f3tesis, el arte electr\u00f3nico y el net.art<\/strong>. Repositorio Institucional Universidad Iberoamericana Ciudad de M\u00e9xico. IBERO. &lt;<a href=\"http:\/\/ri.ibero.mx\/handle\/ibero\/1544\">http:\/\/ri.ibero.mx\/handle\/ibero\/1544<\/a>&gt; [Consultado: 15\/08\/2019]<\/li>\n<\/ul>\n<h2><strong><span style=\"color: #ff0000;\"><span style=\"caret-color: #ff0000;\">D<\/span><\/span><\/strong><\/h2>\n<ul>\n<li>D\u2019Agata, A. (2020).<em><strong> Virus<\/strong> <\/em>[Imagen]. Galer\u00eda Patricia Conde. <a href=\"https:\/\/pcg.photo\/pdf\/adv_boletin_spa.pdf\">https:\/\/pcg.photo\/pdf\/adv_boletin_spa.pdf\u00a0<\/a> \u00a0[Consultado: 07\/04\/2024]<\/li>\n<li>Dalby, J., &amp; Freeman, M. (Eds.). (2023). <em><strong>Transmedia Selves: Identity and Persona Creation in the Age of Mobile and Multiplatform Media<\/strong> <\/em>(1st ed.). Routledge. <a href=\"https:\/\/doi.org\/10.4324\/9781003134015\">https:\/\/doi.org\/10.4324\/9781003134015<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Daniele, A., &amp; Song, Y. (2019). <strong>AI art = human<\/strong>. En V. Conitzer, G. K. Hadfield, &amp; S. Vallor (eds.), Proceedings of the 2019 AAAI\/ACM Conference on AI, Ethics, and Society, 155-161. New York, NY: Association for Computing Machinery. <a href=\"https:\/\/doi.org\/10.1145\/3306618.3314233\">https:\/\/doi.org\/10.1145\/3306618.3314233<\/a><\/li>\n<li>Dannenberg, R. &amp; Bates, J. (1995): <strong>A Model of Interactive Art<\/strong>. <em>Proceedings of the Fifth Biennial Symposium for Arts and Technology<\/em>, Connecticut College,\u00a0 103-111. <a href=\"https:\/\/www.cs.cmu.edu\/~rbd\/papers\/interactiveart.pdf\">https:\/\/www.cs.cmu.edu\/~rbd\/papers\/interactiveart.pdf<\/a> \u00a0[Consultado: 07\/04\/2024]<\/li>\n<li>Davies, J. (2007) <strong>Display, Identity and the Everyday: Self-Presentation through Online Image Sharing<\/strong>,\u00a0<em>Discourse: Studies in the Cultural Politics of Education<\/em> 28, (4): 549\u2013564.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0De Araujo, A. C. (2024). <strong>Corpos, identidades, teoria queer e inteligencia artificial: dialogos<\/strong>. <em>Estudos feministas<\/em>, 32(2). <a href=\"https:\/\/doi.org\/10.1590\/1806-9584-2024v32n298931\">https:\/\/doi.org\/10.1590\/1806-9584-2024v32n298931<\/a><\/li>\n<li>De Diego, E. (2011) <em><strong>No soy yo. Autobiograf\u00eda, performance y los nuevos espectadores<\/strong><\/em>. Madrid: Siruela.<\/li>\n<li>Dekker, A. &amp; Tedone, G. (2019). <strong>Networked Co-Curation: An Exploration of the Socio-Technical Specificities of Online Curation<\/strong>.<em> Arts<\/em>, v. 8, n. 3, p.86. <a href=\"https:\/\/doi.org\/10.3390\/arts8030086\">https:\/\/doi.org\/10.3390\/arts8030086<\/a><\/li>\n<li>De La Fuente, A. (2020) <strong>Cuerpos y technopol\u00edtica: Performance art en streaming<\/strong>, <em>Usted no est\u00e1 aqu\u00ed.<\/em> <em>Revista digital de performance y sonido<\/em>, 17-21. <a href=\"https:\/\/issuu.com\/archivoustednoestaaqui\/docs\/usted_no_est__aqu_-revista_digital_62f07b0d65dfe8\/s\/10657175\">https:\/\/issuu.com\/archivoustednoestaaqui\/docs\/usted_no_est__aqu_-revista_digital_62f07b0d65dfe8\/s\/10657175<\/a> \u00a0[Consultado: 07\/04\/2024]<\/li>\n<li>Del Moral, M. E. &amp; Bellver, M. C. (2020). <strong>Conjugando arte y emoci\u00f3n: an\u00e1lisis de producciones art\u00edsticas publicadas en facebook durante el confinamiento por el covid 19<\/strong>. En S\u00e1nchez-Rivas, E.; Colomo-Maga\u00f1a, E.; Ruiz-Palmero, J. &amp; Sanchez-Rodriguez, J. (Coord.). <em>Tecnolog\u00edas educativas y estrategias did\u00e1cticas<\/em>. Universidad de M\u00e1laga. UMA Editorial, pp.1813-1824. <a href=\"https:\/\/hdl.handle.net\/10630\/20345\">https:\/\/hdl.handle.net\/10630\/20345<\/a>\u00a0\u00a0[Consultado: 07\/04\/2024]<\/li>\n<li>Del R\u00edo-Almagro, A.; Moreno-Montoro, M.\u00aa I. (2023). <strong>Arte y Covid-19. Enfoques tem\u00e1ticos e im\u00e1genes predominantes de la pandemia<\/strong>. <em>Arte, Individuo y Sociedad<\/em>, 35(3), 1101-1121. <a href=\"https:\/\/dx.doi.org\/10.5209\/aris.86292\">https:\/\/dx.doi.org\/10.5209\/aris.86292<\/a><\/li>\n<li>Del R\u00edo-Almagro, A. &amp; Rico Cuesta, M. (2019). <strong>La enfermedad como otredad: las met\u00e1foras <\/strong><strong>dominantes a partir de las pr\u00e1cticas art\u00edsticas visuales<\/strong>. <em>AIBR: Revista de Antropolog\u00eda Iberoamericana<\/em>, 14 (2), 253-276. <a href=\"https:\/\/doi.org\/10.11156\/aibr.v14i2.72614\">https:\/\/doi.org\/10.11156\/aibr.v14i2.72614<\/a><\/li>\n<li>Del R\u00edo N. (2013). <strong>Recursos educativos en museos online de arte contempor\u00e1neo. Tipolog\u00eda e implantaci\u00f3n<\/strong>. <i>Arte, Individuo y Sociedad<\/i>,\u00a0<i>25<\/i>(2), 233-245. <a href=\"https:\/\/doi.org\/10.5209\/rev_ARIS.2013.v25.n2.38955\">https:\/\/doi.org\/10.5209\/rev_ARIS.2013.v25.n2.38955<\/a><\/li>\n<li>De Lauretis, T. (2000) <strong>La tecnolog\u00eda del g\u00e9nero<\/strong>. Diferencias. Etapas de un camino a trav\u00e9s del feminismo. <em>Cuadernos Inacabados<\/em>, n. 35. Madrid: Horas y Horas. 33-70.<\/li>\n<li>De Seta, G., &amp; Proksell, M. (2015) <strong>The Aesthetics of Zipai: From Wechat Selfies to Self-Representation in Contemporary Chinese Art and Photography<\/strong>.\u00a0<em>Networking Knowledge: Journal of the MeCCSA Postgraduate Network<\/em>,\u00a0<em>8<\/em>(6). <a href=\"https:\/\/doi.org\/10.31165\/nk.2015.86.404\">https:\/\/doi.org\/10.31165\/nk.2015.86.404<\/a><\/li>\n<li>D\u00edaz, D. y Boj, C. (2019) <strong>Pr\u00e1cticas art\u00edsticas en la \u00e9poca del dataceno. Data Biography: rastros digitales para la exploraci\u00f3n biogr\u00e1fica de la identidad personal<\/strong>. <em>Artnodes<\/em>, (24). <a href=\"http:\/\/doi.org\/10.7238\/a.v0i24.3293\">http:\/\/doi.org\/10.7238\/a.v0i24.3293<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0D\u00edaz Basurto, I. J., Robles Zambrano, G., &amp; C\u00e1liz R\u00faales, A. L. (2023). <strong>La inteligencia artificial y el derecho a la intimidad-privacidad<\/strong>.\u00a0<em>Iustitia Socialis<\/em>,\u00a0<em>8<\/em>(1), 84\u201393.\u00a0<a href=\"https:\/\/doi.org\/10.35381\/racji.v8i1.2493\">https:\/\/doi.org\/10.35381\/racji.v8i1.2493<\/a><\/li>\n<li>Dinello, D. (2006) <em><strong>Technology, Technophobia! Science Fiction Visions of Posthuman<\/strong><\/em>. University of Texas Press.<\/li>\n<li>Dinkla, S. (1996). <strong>From Participation to Interaction: The Origins of Interactive Art<\/strong>, <em>Clicking In: Hot Links to a Digital Culture<\/em>, Lynn Hershman-Leeson ed., Seattle: Bay Press<\/li>\n<li>Dixon, S. (2007). <em><strong>Digital Performance. A History of New Media in Theater, Dance, Performance Art, and Installation<\/strong><\/em>. Boston: MIT Press.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Duan, W., Li, L., Freeman, G., &amp; McNeese, N. (2025). <strong>A scoping review of gender stereotypes in artificial intelligence.<\/strong> In Proceedings of the 2025 CHI Conference on Human Factors in Computing Systems (CHI\u201925). Association for Computing Machinery. <a href=\"https:\/\/doi.org\/10.1145\/3706598.3713093\">https:\/\/doi.org\/10.1145\/3706598.3713093<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Dubber, M. (2021). <em><strong>Oxford Handbook Of Ethics Of AI<\/strong><\/em>. Oxford Univ Press Us.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Duester, E. (2024) <strong>Digital art <em>work<\/em> and AI: a new paradigm for work in the contemporary art sector in China<\/strong>. <em>Eur. J. Cult. Manag. Polic.<\/em><a href=\"https:\/\/doi.org\/10.3389\/ejcmp.2024.12470\"> https:\/\/doi.org\/10.3389\/ejcmp.2024.12470<\/a><\/li>\n<li>Durham, A. (2014) <strong>Networked Bodies in Cyberspace: Orchestrating the Trans-Subjective in the Video Artworks of Natalie Bookchin<\/strong>. <em>Art Journal<\/em><strong>\u00a0 <\/strong>Vol. 72, n. 3, 66-81.<a href=\"https:\/\/doi.org\/10.1080\/00043249.2013.10792854\">\u00a0https:\/\/doi.org\/10.1080\/00043249.2013.10792854<\/a><\/li>\n<li>Dyens, O. (2001). <em><strong>Metal and Flesh: The Evolution of Man: Technology Takes Over<\/strong><\/em>. Cambridge, MA: MIT Press.<\/li>\n<\/ul>\n<h2><strong><span style=\"color: #ff0000;\"><span style=\"caret-color: #ff0000;\">E<\/span><\/span><\/strong><\/h2>\n<ul>\n<li>Echeverr\u00eda, J. (2003) <strong>Cuerpo electr\u00f3nico e identidad<\/strong>. Hern\u00e1ndez S\u00e1nchez (ed.) <em>Arte, cuerpo, tecnolog\u00eda.<\/em> Salamanca: Ediciones Universidad de Salamanca.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Elgammal, A<em> (<\/em>2021): <em><strong>Art, Artificial Intelligence, and the Question of Authentic Identity<\/strong><\/em>. (n.d.). The Guggenheim Museums and Foundation. <a href=\"https:\/\/www.guggenheim.org\/articles\/checklist\/art-artificial-intelligence-and-the-question-of-authentic-identity\">https:\/\/www.guggenheim.org\/articles\/checklist\/art-artificial-intelligence-and-the-question-of-authentic-identity<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Elgammal, A., Liu, B., Elhoseiny, M., and Mazzone, M. (2017). <strong>Can: Creative adversarial networks, generating \u201cart\u201d by learning about styles and deviating from style norms<\/strong>. En A. Goel, A. Jordanous, &amp; A. Pease (eds.), Proceedings of the 8th International Conference on Computational Creativity (ICCC\u201917) 96\u2013103. Georgia Institute of Technology. <a href=\"https:\/\/doi.org\/10.48550\/arXiv.1706.07068\">https:\/\/doi.org\/10.48550\/arXiv.1706.07068<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Esling, P., &amp; Devis, N. (2020). <strong>Creativity in the era of artificial intelligence<\/strong>. In JIM Conference 2020. Journ\u00e9es d\u2019Informatique Musicale, Strasbourg, France. <a href=\"https:\/\/doi.org\/10.48550\/arXiv.2008.05959\">https:\/\/doi.org\/10.48550\/arXiv.2008.05959<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span> Estampa (2018). <strong><em>El mal alumne. Pedagog\u00eda cr\u00edtica per a intel.lig\u00e8ncies artificials<\/em><\/strong>. La Capella. Barcelona: Ajuntament de Barcelona i The Flames by Folch. <a href=\"https:\/\/tallerestampa.com\/wordpress\/wp-content\/uploads\/2019\/09\/elmalalumne_Estampa_CAT_ES_EN.pdf\">https:\/\/tallerestampa.com\/wordpress\/wp-content\/uploads\/2019\/09\/elmalalumne_Estampa_CAT_ES_EN.pdf<\/a><\/li>\n<li>Estanyol, E. (2022). <strong>Traditional Festivals and COVID-19: Event Management and Digitalization in Times of Physical Distancing<\/strong>. <em>Event Management<\/em>, <em>26<\/em>(3), 647-659.<\/li>\n<\/ul>\n<h2><strong><span style=\"color: #ff0000;\"><span style=\"caret-color: #ff0000;\">F<\/span><\/span><\/strong><\/h2>\n<ul>\n<li>Faba-Zuleta, P. (2020) <strong>El cuerpo como acontecimiento. Las formas de operar de lo pol\u00edtico en el arte de Ana Mendieta<\/strong>.\u00a0<em>Arte, Individuo Y Sociedad<\/em>,\u00a0<em>32<\/em>(1), 133-154. <a href=\"https:\/\/doi.org\/10.5209\/aris.62796\">https:\/\/doi.org\/10.5209\/aris.62796<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span> Felipe, H. (2020). <strong>Identificaci\u00f3n, clasificaci\u00f3n y control: estrechos v\u00ednculos analizados desde las pr\u00e1cticas art\u00edsticas en el coraz\u00f3n de la inteligencia artificial<\/strong>. <em>Artnodes,<\/em> 26, 1-9. <a href=\"https:\/\/doi.org\/10.7238\/a.v0i26.3361\">https:\/\/doi.org\/10.7238\/a.v0i26.3361<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Fern\u00e1ndez-Castrillo, C . (2023). <strong>The AI work of art in the age of its co-creation<\/strong>. <em>Magazen<\/em> 4(2):357\u2013383. <a href=\"https:\/\/doi.org\/10.30687\/mag\/2724-3923\/2023\/02\/008\">https:\/\/doi.org\/10.30687\/mag\/2724-3923\/2023\/02\/008<\/a><\/li>\n<li>Fern\u00e1ndez Labayen, M. y Oroz, E. (2013) <strong>Plug-ins del yo. 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Londres: Open Humanities Press. &lt;<a href=\"http:\/\/openhumanitiespress.org\/books\/download\/Kuc-Zylinska_2016_Photomediations-A-Reader.pdf\">http:\/\/openhumanitiespress.org\/books\/download\/Kuc-Zylinska_2016_Photomediations-A-Reader.pdf<\/a>&gt; [Consultado: 15\/05\/2019).<\/li>\n<li>Fundaci\u00f3n Enaire &amp; PHotoEspa\u00f1a (23 de septiembre de 2020). <em><strong>Tiempo detenido. Memoria <\/strong><\/em><em><strong>fotogr\u00e1fica del confinamiento<\/strong><\/em>. PhotoEspa\u00f1a. <a href=\"https:\/\/www.phe.es\/tiempo-detenido\/\">https:\/\/www.phe.es\/tiempo-detenido\/<\/a><\/li>\n<\/ul>\n<h2><span style=\"color: #ff0000;\"><strong>G<\/strong><\/span><\/h2>\n<ul>\n<li>Gao, Z. y Braud, T. (2023).<strong> VR-driven museum opportunities: digitized archives in the age of metaverse<\/strong>. En \u00abPossibles\u00bb. <em>Artnodes<\/em>, no. 32. 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(2024). <em><strong>Understanding the impact of human oversight on discriminatory outcomes in AI-supported decision-making<\/strong><\/em>. Amsterdam: IOS Press.<\/li>\n<li>Gergen, K. J. (2006) <em><strong>El yo saturado. Dilemas de identidad en el mundo contempor\u00e1neo. <\/strong><\/em>Colecci\u00f3n Surcos. Barcelona: Ediciones Paid\u00f3s Ib\u00e9rica.<\/li>\n<li>Geroimenko, V. (2012, July). <strong>Augmented reality technology and art: The analysis and visualization of evolving conceptual models<\/strong>. In 2012 16th International Conference on Information Visualisation. 445-453. <a href=\"https:\/\/ieeexplore.ieee.org\/stamp\/stamp.jsp?tp=&amp;arnumber=6295852\">https:\/\/ieeexplore.ieee.org\/stamp\/stamp.jsp?tp=&amp;arnumber=6295852<\/a> [Consultado: 07\/04\/2024]<\/li>\n<li>Ghidini, M.L. (2019) <strong>Curating on the Web: The Evolution of Platforms as Spaces for Producing and Disseminating Web-Based Art<\/strong>. <em>Arts<\/em>, v. 8, n. 3, p. 78. <a href=\"https:\/\/doi.org\/10.3390\/arts8030078\">https:\/\/doi.org\/10.3390\/arts8030078<\/a><\/li>\n<li>Giannetti, C. (1998) <em><strong>Ars Telem\u00e1tica &#8211; Telecomunicaci\u00f3n, Internet y Ciberespacio<\/strong>.<\/em>\u00a0Barcelona: \u200b\u200bL&#8217;Angelot.<\/li>\n<li>Giannetti, C. (2004). <strong>El espectador como interactor. Mitos y perspectivas de la interacci\u00f3n<\/strong>. Conferencia en el Centro Gallego de Arte Contempor\u00e1neo de Santiago de Compostela CGAC, 23.01.2004. <a href=\"https:\/\/www.pozodelasartes.com\/archivos\/giannetti_espectador.pdf\">https:\/\/www.pozodelasartes.com\/archivos\/giannetti_espectador.pdf<\/a> [Consultado: 07\/04\/2024]<\/li>\n<li>Giannetti, C. (2002).\u00a0<em><strong>Est\u00e9tica Digital. Sintop\u00eda del arte, la ciencia y la tecnolog\u00eda<\/strong><\/em>. Barcelona: L\u2019Angelot.<\/li>\n<li>Giannini, T., Bowen , J.P., Michaels, C., \u00a0Smith, C.H. (2022). <strong>Digital Art and Identity Merging Human and Artificial Intelligence: Enter the Metaverse.<\/strong> <em>Proceedings of EVA London 2022<\/em>, BCS Learning and Development Ltd. <a href=\"https:\/\/doi.org\/10.14236\/ewic\/EVA2022.1\">https:\/\/doi.org\/10.14236\/ewic\/EVA2022.1<\/a><\/li>\n<li>Giannini, T. y Bowen, J. P. (2022). <strong>Digital Experience in Art and Identity: The Metaverse calls<\/strong>, en V. Cappellini (ed.), <em>EVA 2022 Florence Proceedings<\/em>, Leonardo Libri,\u00a0 24\u201331.\u00a0 <a href=\"https:\/\/doi.org\/10.31235\/osf.io\/6y4vd\">https:\/\/doi.org\/10.31235\/osf.io\/6y4vd<\/a><\/li>\n<li>Giannini T. y Bowen, J. P. 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(2020). <strong>\u0392\u03af\u03bf\u03c2 + BI\/OS: Diferen\u00e7a e corporeidade nas abordagens tecnol\u00f3gicas transgressivas observadas na artem\u00eddia<\/strong>. <em>Artefilosofia<\/em><strong>,<\/strong> Ouro Preto, v. 15, ed. especial, 374-387. <a href=\"https:\/\/periodicos.ufop.br\/raf\/article\/view\/4309\">https:\/\/periodicos.ufop.br\/raf\/article\/view\/4309<\/a>.<\/li>\n<li>Hora, D. (2019). <strong>Alt\u00e9rit\u00e9 op\u00e9rationnelle de l&#8217;image: L&#8217;anonymat dans l&#8217;art-activisme hacker<\/strong>. En Fran\u00e7ois Soulages; Bruno Zorzal. (Org.). <em><strong>Image &amp; anonymat \u00e0 l&#8217;\u00e8re du contemporain<\/strong><\/em>.\u00a0 Paris: L&#8217;Harmattan, 87-94. (Publicado en portugu\u00e9s como: Alteridade operacional da imagem: acerca do anonimato no arte-ativismo hacker. <em><strong>Farol<\/strong><\/em>, Vit\u00f3ria, v. 1, n. 21, 44\u201350. <a href=\"https:\/\/doi.org\/10.47456\/rf.v1i21.30842\">https:\/\/doi.org\/10.47456\/rf.v1i21.30842<\/a>)<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Horton, CB Jr.; White, MW.; Iyengar, SS. (2023). <strong>Bias against AI art can enhance perceptions of human creativity<\/strong>. <em>Sci Rep<\/em> 13:19001. <a href=\"https:\/\/doi.org\/10.1038\/s41598-023-45202-3\">https:\/\/doi.org\/10.1038\/s41598-023-45202-3<\/a><\/li>\n<li>Huhtamo, E.(1994). <strong>On the Archaeology of Interactivity<\/strong>. Media Scape, Second International Exhibition and Symposium on Art and Media. 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(2005) <strong>Intimate Visual Co-Presence<\/strong>, Position Paper for the<em> Seventh International Conference on Ubiquitous Computing, <\/em>Tokyo, September 11<wbr \/>\u201414. <a href=\"http:\/\/www.itofisher.com\/mito\/archives\/ito.ubicomp05.pdf\">http:\/\/www.itofisher.com\/mito\/archives\/ito.ubicomp05.pdf<\/a> (Consultado: 10\/01\/2017)<\/li>\n<li>Imre, A. (2009) <em><strong>Identity games : globalization and the transformation of media cultures in the new Europe<\/strong><\/em>. The MIT Press.<\/li>\n<\/ul>\n<h2><strong><span style=\"color: #ff0000;\"><span style=\"caret-color: #ff0000;\">J<\/span><\/span><\/strong><\/h2>\n<ul>\n<li><span style=\"color: #ff0000;\"><strong>#<\/strong><\/span>\u00a0<span style=\"color: #ff0000;\"><strong>IA #<\/strong><\/span>\u00a0Jaiswal, S. y Kumar Singh, P (2024). <strong>Generative Artificial Intelligence for Art and Content Creation<\/strong>, <em>IJIRT<\/em> 11(7) 3301-3304 <a href=\"https:\/\/ijirt.org\/publishedpaper\/IJIRT171418_PAPER.pdf\">https:\/\/ijirt.org\/publishedpaper\/IJIRT171418_PAPER.pdf<\/a><\/li>\n<li>Janeiro Obernyer, J. (2018) <strong>Identity Remix \u2013 A Simulacrum of the Self in Contemporary Art<\/strong>. <em>Anales de Historia del Arte <\/em>n\u00ba 28, (177-199) <a href=\"http:\/\/dx.doi.org\/10.5209\/ANHA.61611\">http:\/\/dx.doi.org\/10.5209\/ANHA.61611<\/a>\u00a0 [Consultado: 20\/08\/2019]<\/li>\n<li>Jewitt, C., Leder Mackley, K., &amp; Price, S. 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(2020). <strong>La Fura dels Baus retransmet en directe una &#8216;performance&#8217; creada durant el confinament<\/strong>. &#8216;La maldici\u00f3n de la corona&#8217; \u00e9s un experiment digital a partir del &#8216;Macbeth&#8217; de Shakespeare. <em>Diari Ara. <\/em><a href=\"https:\/\/www.ara.cat\/cultura\/fura-baus-retransmet-performance-confinament-directe-espectacle-macbeth-coronavirus-covid-19_1_1163615.html\">https:\/\/www.ara.cat\/cultura\/fura-baus-retransmet-performance-confinament-directe-espectacle-macbeth-coronavirus-covid-19_1_1163615.html<\/a> [Consultado: 20\/03\/2024]<\/li>\n<\/ul>\n<h2><strong><span style=\"color: #ff0000;\"><span style=\"caret-color: #ff0000;\">K<\/span><\/span><\/strong><\/h2>\n<ul>\n<li>Kac, E. (1998).\u00a0 <strong>Ornitorrinco y Rara Avis. El arte de la telepresencia en Internet<\/strong>. En Claudia Gianetti (ed.) <em>Ars Telem\u00e1tica &#8211; Telecomunicaci\u00f3n, Internet y Ciberespacio.<\/em>\u00a0Barcelona: \u200b\u200bL&#8217;Angelot.<\/li>\n<li>Kac, E. (1993). <strong>Telepresence Art.<\/strong> En Richard Kriesche (ed.) <em>Teleskulptur<\/em>. Graz: Kulturdata.\u00a0 48 -72.<\/li>\n<li>Kac, E.(2005). <em><strong>Telepresence and Bio Art: Networking Humans and Rabbits<\/strong>. <\/em>University of Michigan Press.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Karimi, P., Rezwana, J., Siddiqui, S., Maher, M. L., &amp; Dehbozorgi, N. (2020). <strong>Creative sketching partner: An analysis of human-AI co-creativity<\/strong>. In Proceedings of the 25th International Conference on Intelligent User Interfaces, 221\u2013230. Cagliary, Italy.\u00a0 <a href=\"https:\/\/doi.org\/10.1145\/3377325.3377522\">https:\/\/doi.org\/10.1145\/3377325.3377522<\/a><\/li>\n<li>Katz, J. (ed.) (1978) <em><strong>Autobiography: Film\/Video\/Photography<\/strong><\/em>. Toronto: Art Gallery of Ontario.<\/li>\n<li>Kellner, D. (1995) <em><strong>Media Culture: Cultural studies, identity and politics between the modern and the postmodern<\/strong><\/em>. Nueva York: Routledge.<\/li>\n<li>Kember, S. y Zylinska, J. (2012) <em><strong><strong>Life after ne<\/strong>\u00a0w media : mediation as a vital process<\/strong>.<\/em> The MIT Press.<\/li>\n<li>Kent, R. (ed.) (2006). <em><strong>Masquerade: Representation and the self in contempo\u00adrary art<\/strong>. <\/em>Sydney: Museum of Contemporary Art.<\/li>\n<li>Kist, C. (2020). <strong>Museums, Challenging Heritage and Social Media During\u00a0COVID-19<\/strong>. <em>Museum and Society<\/em>, 18(3), 345-348. <a href=\"https:\/\/doi.org\/10.29311\/mas.v18i3.3539\">https:\/\/doi.org\/10.29311\/mas.v18i3.3539<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Klipphahn-Karge, M., Koster, Ak. y Morais dos Santos, S.\u00a0 (eds.) (2024). <strong><em>Queer Reflections on AI: Uncertain Intelligences <\/em><\/strong>. Londres: Routledge.\u00a0 <a href=\"https:\/\/library.oapen.org\/bitstream\/id\/4b2a502a-4da8-4b21-b7b1-a4000aabf1e3\/9781000923575.pdf\">https:\/\/library.oapen.org\/bitstream\/id\/4b2a502a-4da8-4b21-b7b1-a4000aabf1e3\/9781000923575.pdf<\/a><\/li>\n<li>Knudsen, B. T. y Stage, C. (2012) <strong>Contagious bodies. An investigation of affective and discursive strategies in contemporary online activism<\/strong>. <em>Emotion, Space and Society,<\/em> 5(3), 148\u2013155.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Kraaijeveld, SR. (2024). <strong>AI-generated art and fiction: signifying everything, meaning nothing?<\/strong> <em>AI &amp; Soc.<\/em> <a href=\"https:\/\/doi.org\/10.1007\/s00146-023-01829-4\">https:\/\/doi.org\/10.1007\/s00146-023-01829-4<\/a><\/li>\n<li>Krauss, R. (2006:1976) <strong>Videoarte: la est\u00e9tica del narcisismo<\/strong>. <em>Primera generaci\u00f3n. Arte e imagen en movimiento [1963-1986]<\/em>. Madrid: Museo Nacional Centro de Arte Reina Sof\u00eda. Original: <strong>Video: The Aesthetics of Narcissism.<\/strong> October, Vol. 1. (Spring, 1976) The MIT Press. 50-64. &lt;<a href=\"http:\/\/www.jonahsusskind.com\/essays\/Krauss_VideoNarcissism.pdf\">http:\/\/www.jonahsusskind.com\/essays\/Krauss_VideoNarcissism.pdf<\/a>&gt; [Consultado: 20\/08\/2019]<\/li>\n<li>Krotoski, A. (2016) <strong>Jennicam: la primera mujer que retransmiti\u00f3 su vida en directo por internet<\/strong>, <em>BBC Magazine, <\/em>22 octubre 2016. <a href=\"https:\/\/www.bbc.com\/mundo\/noticias-37692171\">https:\/\/www.bbc.com\/mundo\/noticias-37692171<\/a> [Consultado: 07\/04\/2024]<\/li>\n<li>Krueger, M. (1991). <em><strong>Artificial Reality II<\/strong><\/em>. Massachusetts Addison- Wesley Professional.<\/li>\n<li>Krueger, M. (2004). <strong>Towards Interactive Aesthetics<\/strong>, <em>Ars Electronica 2004. Timeshift\u2013The World in Twenty-Five Years<\/em>, Gerfried Stocker y Christine Sch\u00f6pf (eds.), Ostfildern: Hatje Cantz, 358-360<\/li>\n<\/ul>\n<h2><strong><span style=\"color: #ff0000;\"><span style=\"caret-color: #ff0000;\">L<\/span><\/span><\/strong><\/h2>\n<ul>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Lamensch M (2023). <strong>Generative AI tools are perpetuating harmful gender stereotypes<\/strong>. Centre for International Governance Innovation, 14 June. <a href=\"https:\/\/www.cigionline.org\/articles\/generative-ai-tools-are-perpetuating-harmful-gender-stereotypes\/\">https:\/\/www.cigionline.org\/articles\/generative-ai-tools-are-perpetuating-harmful-gender-stereotypes\/<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Lagos, A. (2025). <strong>Andrea Colamedici, la mente detr\u00e1s de <em>Hipnocracia<\/em><\/strong>.<em> Wired,<\/em> 14 de abril de 2025.\u00a0 <a href=\"https:\/\/es.wired.com\/articulos\/entrevista-con-andrea-colamedici-el-autor-detras-de-hipnocracia-de-jianwei-xun\">https:\/\/es.wired.com\/articulos\/entrevista-con-andrea-colamedici-el-autor-detras-de-hipnocracia-de-jianwei-xun\u00a0<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Lagos, A. (2025). <strong>Jianwei Xun, el fil\u00f3sofo que nunca existi\u00f3 o c\u00f3mo un libro de IA predijo su propia farsa<\/strong>. <em>Wired<\/em>, 13 de abril de 2025. <a href=\"https:\/\/es.wired.com\/articulos\/jianwei-xun-el-filosofo-que-nunca-existio-o-como-un-libro-de-ia-predijo-su-propia-farsa\">https:\/\/es.wired.com\/articulos\/jianwei-xun-el-filosofo-que-nunca-existio-o-como-un-libro-de-ia-predijo-su-propia-farsa<\/a><\/li>\n<li>Las\u00e9n A. y G\u00f3mez-Cruz, E. (2009) <strong>Digital Photography and Picture Sharing: Redefining the Public\/Private Divide.<\/strong> <em>Know Techn Pol<\/em>, 22\u00a0 (205\u2013215) DOI 10.1007\/s12130-009-9086-8<\/li>\n<li>Las\u00e9n, A. (2012) <strong>Autofotos. Subjetividades y Medios Sociales<\/strong>, Garc\u00eda-Canclini, N. y Cruces F. (eds.) <em>J\u00f3venes,\u00a0culturas\u00a0urbanas\u00a0y\u00a0redes\u00a0digitales.\u00a0Pr\u00e1cticas emergentes en\u00a0las artes,\u00a0el campo\u00a0editorial y\u00a0la m\u00fasica. <\/em>Madrid: Ariel, 243-262.<\/li>\n<li>Las\u00e9n, A. (2015). <strong>Digital Self-Portraits, Exposure and the Modulation of Intimacy<\/strong>. Carvalheiro, J.R. y Serrano, A. (eds.). <em>Mobile and Digital Communication: Approaches to Public and Private.<\/em> Covih\u00e1: LabCom Books UBI. (61-78). &lt;<a href=\"https:\/\/www.academia.edu\/13710177\/Digital_Self-Portraits_Exposure_and_the_Modulation_of_Intimacy\">https:\/\/www.academia.edu\/13710177\/Digital_Self-Portraits_Exposure_and_the_Modulation_of_Intimacy<\/a>&gt; [Consultado: 15\/08\/2019]<\/li>\n<li>Lazzarato, M. (2015). <strong>Del biopoder a la biopolitica<\/strong>. <a href=\"http:\/\/transform.eipcp.net\/transversal\/1106\/lazzarato\/es\">http:\/\/transform.eipcp.net\/transversal\/1106\/lazzarato\/es<\/a> (Consultado: 04\/07\/2015).<\/li>\n<li>Lee, G. (2017). <strong>Selfless experience<\/strong>. <em>Philosophical Perspectives<\/em> 31 (1):207-243.\u00a0 <a href=\"https:\/\/doi.org\/10.1111\/phpe.12098\">https:\/\/doi.org\/10.1111\/phpe.12098<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Lee, HK. (2022). <strong>Rethinking creativity: creative industries, AI and everyday creativity<\/strong>. <em>Media Cult Soc<\/em> 44(3):601\u2013612. <a href=\"https:\/\/doi.org\/10.1177\/01634437221077009\">https:\/\/doi.org\/10.1177\/01634437221077009<\/a><\/li>\n<li>Lee, K. M. (2004). <strong>Presence, Explicated<\/strong>. <em>Communication theory<\/em>, <em>14<\/em>(1), 27-50.<\/li>\n<li>Levin, G. y Z. Liebermann (2004). <strong>In-Situ Speech Visualization in Real-Time Interactive Installation and Performance<\/strong>. NPAR\u201904.\u00a0 International Symposium on Non-Photorealistic Animation and Rendering. 7-14 <a href=\"https:\/\/doi.org\/10.1145\/987657.987659\">https:\/\/doi.org\/10.1145\/987657.987659\u00a0<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Liang D. (2022). <strong>Aesthetic value evaluation for digital cultural and creative products with artificial intelligence<\/strong>. <em>Wireless. Communication and Mobile Computing<\/em>. 2022 (3) 1\u201310. <a href=\"https:\/\/doi.org\/10.1155\/2022\/8318620\">https:\/\/doi.org\/10.1155\/2022\/8318620<\/a><\/li>\n<li>Lister, M. (ed.) (2013) <em><strong>The photographic image in digital culture<\/strong><\/em>: Routledge, Oxon.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Liu, W., Tao, F. (2022). <strong>Art definition and accelerated experience: temporal dimension of AI artworks<\/strong>. <em>Philosophies<\/em> 7(6):127. <a href=\"https:\/\/doi.org\/10.3390\/philosophies7060127\">https:\/\/doi.org\/10.3390\/philosophies7060127<\/a><\/li>\n<li>Llanos-Zuloaga, M. (2020).<strong> Arte, creatividad y resiliencia: recursos frente a la pandemia<\/strong>.\u00a0<i>Avances en Psicolog\u00eda<\/i>,\u00a0<i>28<\/i>(2), 191\u2013204. <a href=\"https:\/\/doi.org\/10.33539\/avpsicol.2020.v28n2.2248\">https:\/\/doi.org\/10.33539\/avpsicol.2020.v28n2.2248<\/a><\/li>\n<li>Loeffler, C. E. &amp; Ascott, R.(1991). \u00a0<strong>Chronology and Working Survey of Select Telecommunications Activity<\/strong>, <em>Leonardo<\/em>, vol.\u00a024, n.\u00a02, The MIT Press, 236-240<\/li>\n<li>L\u00f3pez, P. (2021). <em><strong>Centroam\u00e9rica en acci\u00f3n, Un acercamiento al performance en Centroam\u00e9rica y algunos de sus protagonistas<\/strong><\/em>. San Jos\u00e9 de Costa Rica: Museo de Arte y Dise\u00f1o Contempor\u00e1neo (MACD).<\/li>\n<li>L\u00f3pez-Gabrielidis, A. (2020). <strong>Datificaci\u00f3n e Individuaci\u00f3n. Estudio sobre la corporalidad digital en pr\u00e1cticas art\u00edsticas contempor\u00e1neas.<\/strong>\u00a0Tesis doctoral. Universitat de Barcelona\u00a0&lt;<a href=\"https:\/\/www.tesisenred.net\/handle\/10803\/669634#page=1\">https:\/\/www.tesisenred.net\/handle\/10803\/669634#page=1<\/a>&gt;\u00a0[Consultado: 16\/12\/2023]<\/li>\n<li>L\u00f3pez-Gabrielidis, A. (2021). <strong>Datificaci\u00f3n y corporalidad digital: \u00bfSon los datos un nuevo cuerpo? <\/strong><em>El Salto<\/em>. Universitat de Barcelona &lt;<a href=\"https:\/\/www.elsaltodiario.com\/atenea_cyborg\/datificacion-y-corporalidad-digital-son-los-datos-un-nuevo-cuerpo\">https:\/\/www.elsaltodiario.com\/atenea_cyborg\/datificacion-y-corporalidad-digital-son-los-datos-un-nuevo-cuerpo<\/a>&gt; [Consultado: 26\/11\/2025]<\/li>\n<li>L\u00f3pez Landabaso, P. (2017). <strong>La performance en el v\u00eddeo, en la fotograf\u00eda y en la telepresencia.<\/strong> <em>\u00d1awi, 1<\/em>(2), 18\u201331. <a href=\"https:\/\/doi.org\/10.37785\/nw.v1n2.a2\">https:\/\/doi.org\/10.37785\/nw.v1n2.a2<\/a><\/li>\n<li>L\u00f3pez-Mart\u00edn, E. (2013) <strong>Doble fotogr\u00e1fico e identidad virtual en la red social Facebook.<\/strong>\u00a0 Madrid: <em>ASRI, Arte y Sociedad<\/em> n. 4.<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Lu, Jing (2025). <strong>AI Empowers Sculpture Art: The Adaptation and Transformation of Handmade Sculpture in the Era of Intelligent Design<\/strong>. <em>International Journal of Education and Humanities<\/em>, <em>18<\/em>(3), 199-203. <a href=\"https:\/\/doi.org\/10.54097\/wejdzx85\">https:\/\/doi.org\/10.54097\/wejdzx85<\/a><\/li>\n<li>Luhmann, N. (2006). <strong>System as Difference<\/strong>.\u00a0<em>Organization, 13<\/em>(1), 37\u201357. <a href=\"https:\/\/doi.org\/10.1177\/1350508406059638\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.1177\/1350508406059638<\/a><\/li>\n<\/ul>\n<h2><strong><span style=\"color: #ff0000;\"><span style=\"caret-color: #ff0000;\">M<\/span><\/span><\/strong><\/h2>\n<ul>\n<li>Mackenzie, L.; \u0160ebjani\u010d, R.; \u017byniewicz, K.; Burr Raty, I.; Honorato, D.\u00a0 (2021) <strong>Staying in Touch: case study of artistic research during the COVID-19 lock-down<\/strong>. <i>Artnodes<\/i>, 2021, n. 27, <a href=\"https:\/\/doi.org\/10.7238\/a.v0i27.375059\">https:\/\/doi.org\/10.7238\/a.v0i27.375059<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Mahenderkar, N. (2022). <strong>The AI Effect on Art Styles<\/strong>. <em>Rethinking The Future Journal<\/em>, 15(3), 23-34. <a href=\"https:\/\/www.re-thinkingthefuture.com\/architectural-community\/a14000-the-ai-effect-on-art-styles\/\">https:\/\/www.re-thinkingthefuture.com\/architectural-community\/a14000-the-ai-effect-on-art-styles\/\u00a0<\/a><\/li>\n<li>Maillo-Palma, L. (2021). <strong>La reinvenci\u00f3n del arte (underground). Est\u00e9tica de lo performativo en una \u00e9poca global de restricciones.<\/strong> <em>Revista Eviterna<\/em> n. 9 <a href=\"https:\/\/doi.org\/10.24310\/Eviternare.vi9.11153\">https:\/\/doi.org\/10.24310\/Eviternare.vi9.11153<\/a><\/li>\n<li>Malina, R.F. (2004) <strong>Leonardo Timeshift. 1959, 1969, 2004, 2029<\/strong>, Ars Electr\u00f3nica, Linz. <a href=\"http:\/\/90.146.8.18\/en\/archives\/festival_archive\/festival_catalogs\/festival_artikel.asp?iProj ectID=12927\">http:\/\/90.146.8.18\/en\/archives\/festival_archive\/festival_catalogs\/festival_artikel.asp?iProj ectID=12927<\/a> (Consultado: 20\/01\/2017).<\/li>\n<li>Manovich, L. (2014).\u00a0<em><strong>El software toma el mando<\/strong><\/em>. Editorial UOC.<\/li>\n<li>Manovich, L. (2017) <strong>Instagram and contemporary image<\/strong>, <a href=\"http:\/\/manovich.net\/index.php\/projects\/instagram-and-contemporary-image\">http:\/\/manovich.net\/index.php\/projects\/instagram-and-contemporary-image<\/a> , [Consultado: 20\/08\/2020].<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0 Manovich, L., y Arielli, E. (2024).\u00a0 <em><strong>\u00a0Artificial aesthetics: Generative AI, art and visual media. <\/strong><\/em><a href=\"https:\/\/manovich.net\/content\/04-projects\/179-artificial-aesthetics\/manovich_and_arielli.artificial_aesthetics.all_chapters_final.pdf\">https:\/\/manovich.net\/content\/04-projects\/179-artificial-aesthetics\/manovich_and_arielli.artificial_aesthetics.all_chapters_final.pdf<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Mantilla Manjarr\u00e9s, P.E. (2024). <strong>Afectaciones en la autopercepci\u00f3n asociadas al uso de la inteligencia artificial<\/strong>. <em>Uru: Revista de Comunicaci\u00f3n y Cultura<\/em>, 10, 30\u201346. <a href=\"https:\/\/doi.org\/10.32719\/26312514.2024.10.2\">https:\/\/doi.org\/10.32719\/26312514.2024.10.2<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0Maravilla, W.H; Malang, B.; Nithya, B.; Anoop, M. (2024)<em><strong> AI and Creativity: The Intersection of Art and Technology.<\/strong><\/em> FSH-PH Publications, Philippines<\/li>\n<li>Marchante, A. (2016) <em><strong>Transbutch. Luchas fronterizas de g\u00e9nero entre el arte y la pol\u00edtica.<\/strong><\/em> Tesis doctoral 05\/02\/2016. Facultad de Bellas Artes, Barcelona: Universidad de Barcelona.<\/li>\n<li>Marchante, D. (2018) <strong>Transcyborgllera. Hacking il archivio da una prospettiva transfeminista e queer. <\/strong>Cossutta, C., Greco, V y Mainardi, A. (eds.). <em>Smagliature digitali. Corpi, generi, tecnologie<\/em>. Bologna-Florencia: Editorial Agenzia X. ISBN: 978-88-98922-40-6<\/li>\n<li>Markowitz, D. M., &amp; Bailenson, J. (2021).\u00a0<strong>Virtual Reality and Emotion: A 5-Year Systematic Review of Empirical Research (2015-2019).<\/strong> PsyArXiv. <a href=\"https:\/\/doi.org\/10.31234\/osf.io\/tpsmr\">https:\/\/doi.org\/10.31234\/osf.io\/tpsmr<\/a><\/li>\n<li>Marks, L. (2014). <strong>Haptic Aesthetics<\/strong>. In M. Kelly (Ed.),\u00a0<em>Encyclopedia of Aesthetics<\/em>\u00a0(2nd ed., Vol. 3, p. 218). Oxford University Press.<\/li>\n<li>Mart\u00ed, E. (2008) <em><strong>Identidad, Cuerpo y Nuevas Tecnolog\u00edas: o c\u00f3mo ven las artistas espa\u00f1olas del \u00faltimo tercio del siglo XX a la mujer contempor\u00e1nea.<\/strong><\/em> Tesis Doctoral. Departamento de Sociolog\u00eda I y Teor\u00eda de la Educaci\u00f3n. Alicante: Universidad de Alicante.<\/li>\n<li>Mart\u00edn Guti\u00e9rrez, G. (ed.) (2008) <em><strong>Cineastas frente al espejo<\/strong><\/em>. Madrid: T &amp; B Editores.<\/li>\n<li>Mart\u00edn-Prada, J. (2008) <strong>La creatividad de la multitud conectada y el sentido del arte en el contexto de la Web 2.0.<\/strong> <em>Revista Estudios visuales. 5. <\/em>65-80.<\/li>\n<li>Mart\u00edn-Prada, J. (2012) <em><strong>Pr\u00e1cticas art\u00edsticas e Internet en la \u00e9poca de las redes sociales<\/strong><\/em>, Colecci\u00f3n Arte contempor\u00e1neo, Madrid: Akal.<\/li>\n<li>Mart\u00edn-Prada, J. (2018) <em><strong>El ver y las im\u00e1genes en el tiempo de Internet<\/strong><\/em>, Madrid: Akal.<\/li>\n<li>Mart\u00edn-Prada, J. (2023) <em><strong>Teor\u00eda del arte y la cultura digital<\/strong><\/em>, Madrid: Akal.<\/li>\n<li>Mart\u00ednez, L.M.; Vivas, S.A. (2022)<strong> Comunicaci\u00f3n digital y arte en medio del confinamiento. Relato de las fragilidades humanas<\/strong>. G. Paredes-Otero, (coord.)\u00a0 En <em>Narrativas y usuarios de la sociedad transmedia<\/em> Madrid:\u00a0 Dykinson. 416-431.<\/li>\n<li>Mart\u00ednez-Collado, A. y Panea, JL. (eds.). <em><strong>Secuencias de la experiencia, estadios de lo visible. Aproximaciones al videoarte espa\u00f1ol<\/strong><\/em>. Madrid: Brumaria y Ediciones de la Universidad de Castilla-La Mancha.<\/li>\n<li>Mart\u00ednez-Rod, P. (2021). <strong>Fotodiarios Covid: Activismo en la comunicaci\u00f3n visual de la pandemia del Covid-19<\/strong>. <em>Revisi\u00f3n Visual. Revista Internacional de Cultura Visual<\/em>, 8 (2), 179\u2013190. <a href=\"https:\/\/doi.org\/10.37467\/gkarevvisual.v8.2934\">https:\/\/doi.org\/10.37467\/gkarevvisual.v8.2934 <\/a><\/li>\n<li>Mart\u00ednez-Rod, P. y Gacharn\u00e1 J. (2018) <em><strong>La imagen faltante. Muerte y duelo en la fotograf\u00eda latinoamericana<\/strong><\/em>. Ediciones Universitat de Barcelona.<\/li>\n<li>Mart\u00edn-Hern\u00e1ndez, R. (2022), <strong>Di\u00e1logos entre pandemias a trav\u00e9s del arte. Imaginarios vih\/sida y de la covid-19, cuidados y afectos<\/strong>. <em>Quintana. Revista do Departamento de Historia da Arte<\/em>, 21, 1-29. <a href=\"https:\/\/doi.org\/10.15304\/quintana.21.8423\">https:\/\/doi.org\/10.15304\/quintana.21.8423 <\/a><\/li>\n<li>Marxen, E. (2022). <strong>Las artes como forma de resistencia en tiempos pand\u00e9micos<\/strong>, <em>Quintana. Revista <\/em><em>do Departamento de Historia da Arte<\/em>, 21,\u00a0 1-13. <a href=\"https:\/\/doi.org\/10.15304\/quintana.21.8374\">https:\/\/doi.org\/10.15304\/quintana.21.8374<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span> Marzo. J.L. (2021). <strong><em>Las videntes. <\/em><\/strong>Barcelona: Arcadia.<\/li>\n<li>Mateus, S. (2010) <strong>Public Intimacy<\/strong>. <em>Sphera P\u00fablica, <\/em>10, 57-70. <a href=\"http:\/\/www.redalyc.org\/pdf\/297\/29719345004.pdf\">http:\/\/www.redalyc.org\/pdf\/297\/29719345004.pdf<\/a>\u00a0 \u00a0[Consultado: 15\/08\/2019]<\/li>\n<li>Matviyenko, S. 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New York, NY. <a href=\"https:\/\/doi.org\/10.1145\/3334480.3382892\">https:\/\/doi.org\/10.1145\/3334480.3382892<\/a><\/li>\n<li>Raich, R. M. (2010).<em><strong> Imagen corporal: conocer y valorar el propio cuerpo<\/strong><\/em>. Pir\u00e1mide.<\/li>\n<li>Racioppe, B. V. (2019). <strong>Del museo a las redes. El <em>hashtag <\/em>como propuesta curatorial<\/strong>, <em>C\u00f3rima, Revista de Investigaci\u00f3n en Gesti\u00f3n Cultural,<\/em> n.\u00ba 6 (4), enero-junio de 2019. <a href=\"https:\/\/doi.org\/10.32870\/cor.a4n6.7112\">https:\/\/doi.org\/10.32870\/cor.a4n6.7112<\/a><\/li>\n<li>Racioppe, B. V. (2022).<strong> Curadur\u00edas e interfaces: las l\u00f3gicas de exhibir arte en internet<\/strong>. <em>Mediaciones<\/em> 18(29):341-358\u00a0 <a href=\"https:\/\/doi.org\/10.26620\/uniminuto.mediaciones.18.29.2022.341-358\">https:\/\/doi.org\/10.26620\/uniminuto.mediaciones.18.29.2022.341-358<\/a><\/li>\n<li>Ram\u00edrez, J. A. (2003). <em><strong>Corpus solus. 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(2020). <strong>Predicting the future: art and algorithms<\/strong>. <em>Soc Econ Rev<\/em> 18(3):893\u2013911. <a href=\"https:\/\/doi.org\/10.1093\/ser\/mwaa040\">https:\/\/doi.org\/10.1093\/ser\/mwaa040<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span>\u00a0 Rubin, V.L. (2022) <strong><em>Misinformation and Disinformation: Detecting Fakes with the Eye and AI<\/em>.<\/strong> New York: Springer.<\/li>\n<li>Rui, J. y Stefanone, M. (2013) <strong>Strategic self-presentation online: A cross-cultural study.<\/strong> <em>Computers in Human Behavior<\/em>, 29, 110-118. DOI: <a href=\"http:\/\/dx.doi.org\/10.1016\/j.chb.2012.07.022\">http:\/\/dx.doi.org\/10.1016\/j.chb.2012.07.022<\/a><\/li>\n<li>Ruiz, J. M. 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(2007). <strong>It is forbidden not to touch: some remarks on the (forgotten parts of the) history of interactivity and virtuality<\/strong>, <em>Media Art Histories<\/em>. Oliver Grau ed., Cambridge y Londres: MIT Press, 21-41.<\/li>\n<li>Wendt, B. (2014) <em><strong>The allure of the selfie. Instagram and the new self-portrait<\/strong><\/em>, Amsterdam: Colophon.<\/li>\n<li>Wilson, S. (2002) <strong>Information Arts: Intersections of Art, Science, and Technology<\/strong>, Cambridge: The MIT Press.\u00a0 <a href=\"http:\/\/www.arts.rpi.edu\/~ruiz\/AdvancedIntegratedArts\/ReadingsAIA\/Wilson%20Art%20Science%20Cultural%20Acts.pdf\">http:\/\/www.arts.rpi.edu\/~ruiz\/AdvancedIntegratedArts\/ReadingsAIA\/Wilson%20Art%20Science%20Cultural%20Acts.pdf<\/a> [Consultado:01\/07\/2017].<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Wingstr\u00f6m, R.; Hautala, J.; Lundman, R.\u00a0 (2022) <strong>Redefining creativity in the era of AI? Perspectives of computer scientists and new media artists<\/strong>. <em>Creat Res<\/em> J 10 177-193. <a href=\"https:\/\/doi.org\/10.1080\/10400419.2022.2107850\">https:\/\/doi.org\/10.1080\/10400419.2022.2107850\u00a0<\/a><\/li>\n<\/ul>\n<h2><strong><span style=\"color: #ff0000;\"><span style=\"caret-color: #ff0000;\">X<\/span><\/span><\/strong><\/h2>\n<ul>\n<li style=\"list-style-type: none;\">\n<ul>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span> Xun, J. (2025). <em><strong>Hipnocracia. Trump Musk y la nueva arquitectura de la realidad<\/strong><\/em>. Barcelona: Rosamer\u00f3n.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<h2><strong><span style=\"color: #ff0000;\"><span style=\"caret-color: #ff0000;\">Y<\/span><\/span><\/strong><\/h2>\n<ul>\n<li style=\"list-style-type: none;\">\n<ul>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Yang, H. (2025). <strong>Artificial intelligence art robots: the future of technological art or the end of the human artist?<\/strong>. <em>International Theory and Practice in Humanities and Social Sciences<\/em>, 2(1), 243\u2013251. <a href=\"https:\/\/doi.org\/10.70693\/itphss.v2i1.85\">https:\/\/doi.org\/10.70693\/itphss.v2i1.85<\/a><\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span> Yao, Q. (2025). <strong>Application of Artificial Intelligence Virtual Image Technology in Photography Art Creation Under Deep Learning<\/strong>, <em>IEEE Access<\/em>, vol. 13, pp. 14542-14556.\u00a0 <a href=\"https:\/\/doi.org\/10.1109\/ACCESS.2025.3529521\">https:\/\/doi.org\/10.1109\/ACCESS.2025.3529521<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<h2><strong><span style=\"color: #ff0000;\"><span style=\"caret-color: #ff0000;\">Z<\/span><\/span><\/strong><\/h2>\n<ul>\n<li>Zafra, R. (2004a) <strong>E-Dentidades. 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(2020). <strong>El arte despu\u00e9s de Internet (Contradecirnos o erosionar los l\u00edmites)<\/strong>.\u00a0<em>Revista de Occidente<\/em>,\u00a0<em>Febrero 2020\u00a0<\/em>(465). <a href=\"https:\/\/digital.csic.es\/handle\/10261\/235557\">https:\/\/digital.csic.es\/handle\/10261\/235557<\/a> [Consultado: 08\/04\/2024].<\/li>\n<li>Zamorano. A. (2021) <strong>Los museos tambi\u00e9n\u00bbmutan\u00bb por el Coronavirus.<\/strong> Madrid: Diario ABC (13\/01\/2021)\u00a0 <a href=\"https:\/\/www.abc.es\/cultura\/abci-museos-coronavirus-nsv-202101131922_noticia.html\">https:\/\/www.abc.es\/cultura\/abci-museos-coronavirus-nsv-202101131922_noticia.html<\/a> [Consultado: 10\/03\/2024].<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA # <\/strong><\/span>Zeilinger, M. (2023). <strong>The politics of visual indeterminacy in abstract AI art.<\/strong> <em>Leonardo<\/em> 56(1):76\u201380. <a href=\"https:\/\/doi.org\/10.1162\/leon_a_02291\">https:\/\/doi.org\/10.1162\/leon_a_02291<\/a><\/li>\n<li>Zinman, G.; Daniels, D.; Kim, A. (2023). <strong>Nam June Paik\u2019s Good Morning Mr. Orwell.<\/strong> <em>MOMA Magazine<\/em>. 29\/03\/2023. <a href=\"https:\/\/www.moma.org\/magazine\/articles\/875\">https:\/\/www.moma.org\/magazine\/articles\/875<\/a> [Consultado: 10\/01\/2024].<\/li>\n<li>\u017di\u017eek, S. (2020).<em><strong> Pandemia. La Covid-19 extremece al mundo<\/strong><\/em>. Editorial Anagrama.<\/li>\n<li>Zubiaga, A. y Cilleruelo, L. (2018) <strong>See and Be Seen. Objects and Subjects<\/strong>. <em>eWICs Series<\/em>, Londres: BCS, Chartered Institute for IT.1-9 DOI: <a href=\"https:\/\/dx.doi.org\/10.14236\/ewic\/EVAC18.31\">http:\/\/dx.doi.org\/10.14236\/ewic\/EVAC18.31<\/a><\/li>\n<li>Zuzulich, J. (2019)\u00a0 <em><strong>La vida fr\u00e1gil (variaciones sobre lo \u00edntimo)<\/strong><\/em>. Buenos Aires: Fundaci\u00f3n Alfonso y Luz Castillo. ISBN 978-987-46951-9-2<\/li>\n<li><span style=\"color: #ff0000;\"><strong># IA #<\/strong><\/span> Zylinska, Joanna (2020). <em><strong>AI Art: Machine Visions and Warped Dreams<\/strong><\/em>. London: Open Humanities Press. <a href=\"https:\/\/openhumanitiespress.org\/books\/download\/Zylinska_2020_AI-Art.pdf\">https:\/\/openhumanitiespress.org\/books\/download\/Zylinska_2020_AI-Art.pdf<\/a><\/li>\n<\/ul>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column el_class=\u00bbjs-archid-nav archid-biblio\u00bb][vc_column_text] A 19artistsversuscovid19 (8 de septiembre de 2022). Artistas contra la Covid-19. Instagram. https:\/\/www.instagram.com\/19artistsversuscovid19\/ \u00a0[Consultado: 07\/04\/2024] # IA # Adler, J. (2024). Desv\u00edos de la inteligencia artificial en las artes tecnol\u00f3gicas: algoritmos, cuerpos, afectos y otras materialidades hacia el desmantelamiento del mito de la novedad. Eik\u00f3n Imago, 13, e90227. https:\/\/doi.org\/10.5209\/eiko.90227 Aguilar, D. y [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inline_featured_image":false,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"class_list":["post-4668","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ub.edu\/cuerposconectados\/wp-json\/wp\/v2\/pages\/4668","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ub.edu\/cuerposconectados\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ub.edu\/cuerposconectados\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ub.edu\/cuerposconectados\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ub.edu\/cuerposconectados\/wp-json\/wp\/v2\/comments?post=4668"}],"version-history":[{"count":115,"href":"https:\/\/www.ub.edu\/cuerposconectados\/wp-json\/wp\/v2\/pages\/4668\/revisions"}],"predecessor-version":[{"id":10289,"href":"https:\/\/www.ub.edu\/cuerposconectados\/wp-json\/wp\/v2\/pages\/4668\/revisions\/10289"}],"wp:attachment":[{"href":"https:\/\/www.ub.edu\/cuerposconectados\/wp-json\/wp\/v2\/media?parent=4668"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}