{"id":268072,"date":"2023-11-20T00:25:09","date_gmt":"2023-11-20T00:25:09","guid":{"rendered":"https:\/\/theprisma.co.uk\/?p=268072"},"modified":"2023-11-27T08:34:09","modified_gmt":"2023-11-27T08:34:09","slug":"hacia-una-politica-del-arte","status":"publish","type":"post","link":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/","title":{"rendered":"Hacia una pol\u00edtica del arte"},"content":{"rendered":"<p><em>El cr\u00edtico cultural Walter Benjamin es probablemente m\u00e1s conocido por su ensayo \u00abLa obra de arte en la era de la reproductibilidad tecnol\u00f3gica\u00bb y el uso del t\u00e9rmino \u00abaura\u00bb para designar la cualidad en una obra de arte que cambia su singularidad cuando es objeto de reproducci\u00f3n.<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #003366;\"><strong><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-268082\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/Book41fcH9kkh5L._SY445_SX342_.jpg\" alt=\"\" width=\"301\" height=\"467\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/Book41fcH9kkh5L._SY445_SX342_.jpg 287w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/Book41fcH9kkh5L._SY445_SX342_-129x200.jpg 129w\" sizes=\"auto, (max-width: 301px) 100vw, 301px\" \/>Sean Sheehan<\/strong><\/span><\/p>\n<p>&nbsp;<\/p>\n<p>Benjamin, que escrib\u00eda a mediados de la d\u00e9cada de 1930, consideraba que la fotograf\u00eda y el cine debilitaban profundamente la cualidad aur\u00e1tica del arte y, en <em>\u00abReturning to Benjamin\u00bb<\/em>, Victor Burgin lo considera en relaci\u00f3n con lo que \u00e9l llama \u00abla tecnolog\u00eda representacional hegem\u00f3nica de nuestro propio tiempo: la digital\u00bb.<\/p>\n<p>Burgin vuelve a contar la historia del antiguo fil\u00f3sofo chino Zhuangzi sobre un jardinero que riega cuidadosamente sus plantas a mano cuando un confuciano le dice que una tecnolog\u00eda sencilla podr\u00eda regar sin esfuerzo cien campos en un d\u00eda.<\/p>\n<p>El jardinero observa que el usuario de tal tecnolog\u00eda tendr\u00e1 una mente como una m\u00e1quina y que al ver las cosas con tal mente perder\u00e1 la unidad con el mundo.<\/p>\n<p>No es tan bueno como el chiste de un monje budista que visita Nueva York y, al preguntarle el due\u00f1o de un puesto de perritos calientes qu\u00e9 quiere pedir, pide que le hagan uno con todo, pero la preocupaci\u00f3n por los usos de la tecnolog\u00eda y su efecto en el pensamiento es m\u00e1s acuciante que nunca. El pensamiento instrumental, al fin y al cabo, es inseparable del Antropoceno y de la crisis ecol\u00f3gica.<\/p>\n<p><a href=\"https:\/\/www.tate.org.uk\/art\/artists\/victor-burgin-834\">Victor Burgin<\/a> es un artista, y para \u00e9l la cuesti\u00f3n consiste en preguntarse qu\u00e9 constituye una pol\u00edtica del arte en una \u00e9poca en la que nos vemos inmersos en interminables oleadas de im\u00e1genes.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-268086 alignright\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/noche-soledad-calle-ciudad-miedo-Pixabay.jpg\" alt=\"\" width=\"518\" height=\"352\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/noche-soledad-calle-ciudad-miedo-Pixabay.jpg 1280w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/noche-soledad-calle-ciudad-miedo-Pixabay-295x200.jpg 295w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/noche-soledad-calle-ciudad-miedo-Pixabay-1024x694.jpg 1024w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/noche-soledad-calle-ciudad-miedo-Pixabay-431x292.jpg 431w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/noche-soledad-calle-ciudad-miedo-Pixabay-862x585.jpg 862w\" sizes=\"auto, (max-width: 518px) 100vw, 518px\" \/>Benjamin escribi\u00f3 sobre la necesidad de crear conceptos que fueran \u00abcompletamente in\u00fatiles para los fines del fascismo\u00bb, conceptos que no puedan ser secuestrados por un nuevo posmodernismo.<\/p>\n<p>Una parte del desaf\u00edo, como se\u00f1ala Zizek en el primer cap\u00edtulo de su nuevo libro <em>\u201cFreedom<\/em>\u201d<em> (Libertad)<\/em>, es que saber lo que hay que hacer puede, en lugar de ser la base del cambio, permitir que no se haga nada. La ideolog\u00eda ya no es vulnerable a la cr\u00edtica ilustrada que pretende romper su dominio sobre nosotros.<\/p>\n<p>Se convierte, en cambio, en un fetiche que permite la desautorizaci\u00f3n: \u00abla ideolog\u00eda funciona de un modo c\u00ednico, incluye una distancia hacia s\u00ed misma\u00bb y se convierte en una forma de que el orden existente se reproduzca. Su ejemplo son los festivales culturales de prestigio, como la Bienal de Venecia, que se presentan como una forma de resistencia al capitalismo global pero que, en la forma en que se mercantiliza su \u00abproducto\u00bb, funcionan como un momento m\u00e1s de la reproducci\u00f3n del sistema.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-268084\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/book-cover.jpg\" alt=\"\" width=\"301\" height=\"461\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/book-cover.jpg 360w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/book-cover-130x200.jpg 130w\" sizes=\"auto, (max-width: 301px) 100vw, 301px\" \/>Tal vez la perspectiva de cambio dependa de reconocer la aparente desesperanza de la situaci\u00f3n.<\/p>\n<p>Cuando Lenin, en 1922, se dio cuenta de que no habr\u00eda revoluci\u00f3n en Alemania ni en ning\u00fan otro lugar, sabiendo que el bolchevismo se enfrentaba a un reto imposible, escribi\u00f3:<\/p>\n<p>\u00bfY si la completa desesperanza de la situaci\u00f3n, al multiplicar por diez los esfuerzos de los obreros y campesinos, nos ofreciera la oportunidad de crear los requisitos fundamentales de la civilizaci\u00f3n de una forma diferente a la de los pa\u00edses de Europa Occidental?<\/p>\n<p><em>\u201cReturning to Benjamin\u201d, de Victor Burgin, es publicado de <\/em><a href=\"https:\/\/mackbooks.co.uk\/products\/returning-to-benjamin-br-victor-burgin\">MACK<\/a><em>.\u00a0 \u201cFreedom: A disease without cure\u201d, de Slavoj \u0179i\u017aek, es publicado de <\/em><a href=\"https:\/\/www.bloomsbury.com\/uk\/freedom-9781350357129\/\">Bloomsbury.<\/a><\/p>\n<p><em><span style=\"color: #003366;\">(Foto: Pixabay)<\/span><\/em><\/p>\n<div class=\"twttr_buttons\"><div class=\"twttr_twitter\">\n\t\t\t\t\t<a href=\"http:\/\/twitter.com\/share?text=Hacia+una+pol%C3%ADtica+del+arte\" class=\"twitter-share-button\" data-via=\"\" data-hashtags=\"\"  data-size=\"default\" data-url=\"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/\" data-dnt=\"true\" data-related=\"\" target=\"_blank\">Tweet<\/a>\n\t\t\t\t<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>El cr\u00edtico cultural Walter Benjamin es probablemente m\u00e1s conocido por su ensayo \u00abLa obra de arte en la era de la reproductibilidad tecnol\u00f3gica\u00bb y el uso del t\u00e9rmino \u00abaura\u00bb para designar la cualidad en una obra de arte que cambia su singularidad cuando es objeto de reproducci\u00f3n. &nbsp; Sean Sheehan [&hellip;]<\/p>\n","protected":false},"author":9,"featured_media":268086,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24,14,7,26],"tags":[],"class_list":["post-268072","post","type-post","status-publish","format-standard","has-post-thumbnail","category-cultura","category-en-foco","category-opinion","category-paginas"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Hacia una pol\u00edtica del arte - ThePrisma.co.uk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hacia una pol\u00edtica del arte\" \/>\n<meta property=\"og:description\" content=\"El cr\u00edtico cultural Walter Benjamin es probablemente m\u00e1s conocido por su ensayo &quot;La obra de arte en la era de la reproductibilidad tecnol\u00f3gica&quot; y el uso del t\u00e9rmino &quot;aura&quot; para designar la cualidad en una obra de arte que cambia su singularidad cuando es objeto de reproducci\u00f3n.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/\" \/>\n<meta property=\"og:site_name\" content=\"ThePrisma.co.uk\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/ThePrismaTheMulticulturalNewspaper\" \/>\n<meta property=\"article:published_time\" content=\"2023-11-20T00:25:09+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-11-27T08:34:09+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/noche-soledad-calle-ciudad-miedo-Pixabay.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"868\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"ThePrisma\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@The_Prisma\" \/>\n<meta name=\"twitter:site\" content=\"@The_Prisma\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"ThePrisma\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2023\\\/11\\\/20\\\/hacia-una-politica-del-arte\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2023\\\/11\\\/20\\\/hacia-una-politica-del-arte\\\/\"},\"author\":{\"name\":\"ThePrisma\",\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/#\\\/schema\\\/person\\\/24f5091d3dc50052d73cbea6ecd09df7\"},\"headline\":\"Hacia una pol\u00edtica del arte\",\"datePublished\":\"2023-11-20T00:25:09+00:00\",\"dateModified\":\"2023-11-27T08:34:09+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2023\\\/11\\\/20\\\/hacia-una-politica-del-arte\\\/\"},\"wordCount\":603,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2023\\\/11\\\/20\\\/hacia-una-politica-del-arte\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/theprisma.co.uk\\\/wp-content\\\/uploads\\\/2023\\\/11\\\/noche-soledad-calle-ciudad-miedo-Pixabay.jpg\",\"articleSection\":[\"Cultura\",\"En Foco\",\"Opini\u00f3n\",\"P\u00e1ginas\"],\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2023\\\/11\\\/20\\\/hacia-una-politica-del-arte\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2023\\\/11\\\/20\\\/hacia-una-politica-del-arte\\\/\",\"url\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2023\\\/11\\\/20\\\/hacia-una-politica-del-arte\\\/\",\"name\":\"Hacia una pol\u00edtica del arte - ThePrisma.co.uk\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2023\\\/11\\\/20\\\/hacia-una-politica-del-arte\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2023\\\/11\\\/20\\\/hacia-una-politica-del-arte\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/theprisma.co.uk\\\/wp-content\\\/uploads\\\/2023\\\/11\\\/noche-soledad-calle-ciudad-miedo-Pixabay.jpg\",\"datePublished\":\"2023-11-20T00:25:09+00:00\",\"dateModified\":\"2023-11-27T08:34:09+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2023\\\/11\\\/20\\\/hacia-una-politica-del-arte\\\/#breadcrumb\"},\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2023\\\/11\\\/20\\\/hacia-una-politica-del-arte\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2023\\\/11\\\/20\\\/hacia-una-politica-del-arte\\\/#primaryimage\",\"url\":\"https:\\\/\\\/theprisma.co.uk\\\/wp-content\\\/uploads\\\/2023\\\/11\\\/noche-soledad-calle-ciudad-miedo-Pixabay.jpg\",\"contentUrl\":\"https:\\\/\\\/theprisma.co.uk\\\/wp-content\\\/uploads\\\/2023\\\/11\\\/noche-soledad-calle-ciudad-miedo-Pixabay.jpg\",\"width\":1280,\"height\":868},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2023\\\/11\\\/20\\\/hacia-una-politica-del-arte\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/theprisma.co.uk\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Hacia una pol\u00edtica del arte\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/#website\",\"url\":\"https:\\\/\\\/theprisma.co.uk\\\/\",\"name\":\"ThePrisma.co.uk\",\"description\":\"Ethical and Independent Journalism\u2026 Journalism for immigrants\",\"publisher\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/theprisma.co.uk\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"es\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/#organization\",\"name\":\"ThePrisma.co.uk\",\"url\":\"https:\\\/\\\/theprisma.co.uk\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/theprisma.co.uk\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/Logo-TP-May-3-2026.jpg\",\"contentUrl\":\"https:\\\/\\\/theprisma.co.uk\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/Logo-TP-May-3-2026.jpg\",\"width\":2171,\"height\":353,\"caption\":\"ThePrisma.co.uk\"},\"image\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/ThePrismaTheMulticulturalNewspaper\",\"https:\\\/\\\/x.com\\\/The_Prisma\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/#\\\/schema\\\/person\\\/24f5091d3dc50052d73cbea6ecd09df7\",\"name\":\"ThePrisma\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/0460a803edadc6b8d142ee19ab9952aeb8d3949d4a75e483f11d805b0fa0621e?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/0460a803edadc6b8d142ee19ab9952aeb8d3949d4a75e483f11d805b0fa0621e?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/0460a803edadc6b8d142ee19ab9952aeb8d3949d4a75e483f11d805b0fa0621e?s=96&d=mm&r=g\",\"caption\":\"ThePrisma\"},\"url\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/author\\\/theprisma\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Hacia una pol\u00edtica del arte - ThePrisma.co.uk","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/","og_locale":"es_ES","og_type":"article","og_title":"Hacia una pol\u00edtica del arte","og_description":"El cr\u00edtico cultural Walter Benjamin es probablemente m\u00e1s conocido por su ensayo \"La obra de arte en la era de la reproductibilidad tecnol\u00f3gica\" y el uso del t\u00e9rmino \"aura\" para designar la cualidad en una obra de arte que cambia su singularidad cuando es objeto de reproducci\u00f3n.","og_url":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/","og_site_name":"ThePrisma.co.uk","article_publisher":"https:\/\/www.facebook.com\/ThePrismaTheMulticulturalNewspaper","article_published_time":"2023-11-20T00:25:09+00:00","article_modified_time":"2023-11-27T08:34:09+00:00","og_image":[{"width":1280,"height":868,"url":"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/noche-soledad-calle-ciudad-miedo-Pixabay.jpg","type":"image\/jpeg"}],"author":"ThePrisma","twitter_card":"summary_large_image","twitter_creator":"@The_Prisma","twitter_site":"@The_Prisma","twitter_misc":{"Escrito por":"ThePrisma","Tiempo de lectura":"4 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/#article","isPartOf":{"@id":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/"},"author":{"name":"ThePrisma","@id":"https:\/\/theprisma.co.uk\/#\/schema\/person\/24f5091d3dc50052d73cbea6ecd09df7"},"headline":"Hacia una pol\u00edtica del arte","datePublished":"2023-11-20T00:25:09+00:00","dateModified":"2023-11-27T08:34:09+00:00","mainEntityOfPage":{"@id":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/"},"wordCount":603,"commentCount":0,"publisher":{"@id":"https:\/\/theprisma.co.uk\/#organization"},"image":{"@id":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/#primaryimage"},"thumbnailUrl":"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/noche-soledad-calle-ciudad-miedo-Pixabay.jpg","articleSection":["Cultura","En Foco","Opini\u00f3n","P\u00e1ginas"],"inLanguage":"es","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/","url":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/","name":"Hacia una pol\u00edtica del arte - ThePrisma.co.uk","isPartOf":{"@id":"https:\/\/theprisma.co.uk\/#website"},"primaryImageOfPage":{"@id":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/#primaryimage"},"image":{"@id":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/#primaryimage"},"thumbnailUrl":"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/noche-soledad-calle-ciudad-miedo-Pixabay.jpg","datePublished":"2023-11-20T00:25:09+00:00","dateModified":"2023-11-27T08:34:09+00:00","breadcrumb":{"@id":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/#breadcrumb"},"inLanguage":"es","potentialAction":[{"@type":"ReadAction","target":["https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/"]}]},{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/#primaryimage","url":"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/noche-soledad-calle-ciudad-miedo-Pixabay.jpg","contentUrl":"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/11\/noche-soledad-calle-ciudad-miedo-Pixabay.jpg","width":1280,"height":868},{"@type":"BreadcrumbList","@id":"https:\/\/theprisma.co.uk\/es\/2023\/11\/20\/hacia-una-politica-del-arte\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/theprisma.co.uk\/"},{"@type":"ListItem","position":2,"name":"Hacia una pol\u00edtica del arte"}]},{"@type":"WebSite","@id":"https:\/\/theprisma.co.uk\/#website","url":"https:\/\/theprisma.co.uk\/","name":"ThePrisma.co.uk","description":"Ethical and Independent Journalism\u2026 Journalism for immigrants","publisher":{"@id":"https:\/\/theprisma.co.uk\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/theprisma.co.uk\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"es"},{"@type":"Organization","@id":"https:\/\/theprisma.co.uk\/#organization","name":"ThePrisma.co.uk","url":"https:\/\/theprisma.co.uk\/","logo":{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/theprisma.co.uk\/#\/schema\/logo\/image\/","url":"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/05\/Logo-TP-May-3-2026.jpg","contentUrl":"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/05\/Logo-TP-May-3-2026.jpg","width":2171,"height":353,"caption":"ThePrisma.co.uk"},"image":{"@id":"https:\/\/theprisma.co.uk\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/ThePrismaTheMulticulturalNewspaper","https:\/\/x.com\/The_Prisma"]},{"@type":"Person","@id":"https:\/\/theprisma.co.uk\/#\/schema\/person\/24f5091d3dc50052d73cbea6ecd09df7","name":"ThePrisma","image":{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/secure.gravatar.com\/avatar\/0460a803edadc6b8d142ee19ab9952aeb8d3949d4a75e483f11d805b0fa0621e?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/0460a803edadc6b8d142ee19ab9952aeb8d3949d4a75e483f11d805b0fa0621e?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/0460a803edadc6b8d142ee19ab9952aeb8d3949d4a75e483f11d805b0fa0621e?s=96&d=mm&r=g","caption":"ThePrisma"},"url":"https:\/\/theprisma.co.uk\/es\/author\/theprisma\/"}]}},"_links":{"self":[{"href":"https:\/\/theprisma.co.uk\/es\/wp-json\/wp\/v2\/posts\/268072","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theprisma.co.uk\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/theprisma.co.uk\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/theprisma.co.uk\/es\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/theprisma.co.uk\/es\/wp-json\/wp\/v2\/comments?post=268072"}],"version-history":[{"count":5,"href":"https:\/\/theprisma.co.uk\/es\/wp-json\/wp\/v2\/posts\/268072\/revisions"}],"predecessor-version":[{"id":268095,"href":"https:\/\/theprisma.co.uk\/es\/wp-json\/wp\/v2\/posts\/268072\/revisions\/268095"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/theprisma.co.uk\/es\/wp-json\/wp\/v2\/media\/268086"}],"wp:attachment":[{"href":"https:\/\/theprisma.co.uk\/es\/wp-json\/wp\/v2\/media?parent=268072"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/theprisma.co.uk\/es\/wp-json\/wp\/v2\/categories?post=268072"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/theprisma.co.uk\/es\/wp-json\/wp\/v2\/tags?post=268072"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}