<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2477-9199</journal-id>
<journal-title><![CDATA[Índex, revista de arte contemporáneo]]></journal-title>
<abbrev-journal-title><![CDATA[Índex]]></abbrev-journal-title>
<issn>2477-9199</issn>
<publisher>
<publisher-name><![CDATA[Pontificia Universidad Católica del Ecuador]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2477-91992019000200168</article-id>
<article-id pub-id-type="doi">10.26807/cav.v0i08.279</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Entre el arte digital y el activismo político.]]></article-title>
<article-title xml:lang="en"><![CDATA[Between digital art and political activism.]]></article-title>
<article-title xml:lang="en"><![CDATA[Experiments of electronic sociability during Neoliberal Mexico (1994-2018)]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[López Cuenca]]></surname>
<given-names><![CDATA[Alberto]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Méndez Cota]]></surname>
<given-names><![CDATA[Gabriela]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Autónoma de Puebla  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad Iberoamericana  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>México</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2019</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2019</year>
</pub-date>
<numero>8</numero>
<fpage>168</fpage>
<lpage>175</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_arttext&amp;pid=S2477-91992019000200168&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_abstract&amp;pid=S2477-91992019000200168&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_pdf&amp;pid=S2477-91992019000200168&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Desde la insurrección Zapatista en México, en 1994, algunas prácticas digitales han experimentado con formas de sociabilidad en las que se borran las distinciones entre arte digital y activismo político. Este artículo revisa casos notablemente distintos como Mejor Vida Corp. (1998), sitio*TAXI (2004), El Rancho Electrónico (2013) o Telecomunicaciones Indígenas Comunitarias (2016) que, en el periodo de auge del neoliberalismo en México y su sistemática privatización de las telecomunicaciones, han puesto en el centro de sus estrategias modos singulares de producir formas de sociabilidad mediadas digitalmente. Los comunes será un concepto clave para dilucidar la especificidad de esos procesos de sociabilidad, lo que permitirá caracterizar cómo se producen y mantienen relaciones sociales en los intersticios de la lógica de mercado. Como conclusión, se señalará que, en estos procesos de comunalización digital, la comunidad no aparece como un presupuesto sino como el incierto resultado de las mediaciones digitales.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Since the Zapatista uprising in Mexico in 1994, some digital practices have experimented with forms of sociability in which the distinctions between digital art and political activism are blurred. In this article, we will focus on notoriously different cases such as Mejor Vida Corp. (1998), sitio*TAXI (2004), El Rancho Electrónico (2013) or Telecomunicaciones Indígenas Comunitarias (2016) that during the rise of Neoliberalism in Mexico and its trend towards privatizing telecommunications have engaded in specif ways of producing forms of sociability digitally mediated. We propose the commons as key concept for understanding the singularity of these processes of sociability, which allows us to characterize how experimental social relations are produced and maintained in the midst of market capitalism. As a conclusion, we will underline that in these processes of digital commoning community is not assumed as a presupposition but rather as an uncertain result of digital mediations.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[comunes]]></kwd>
<kwd lng="es"><![CDATA[comunes digitales]]></kwd>
<kwd lng="es"><![CDATA[EZLN]]></kwd>
<kwd lng="es"><![CDATA[arte contemporáneo]]></kwd>
<kwd lng="es"><![CDATA[comunidad]]></kwd>
<kwd lng="es"><![CDATA[Minerva Cuevas]]></kwd>
<kwd lng="es"><![CDATA[Antoni Abad]]></kwd>
<kwd lng="es"><![CDATA[Rhizomática]]></kwd>
<kwd lng="en"><![CDATA[commons: digital commons]]></kwd>
<kwd lng="en"><![CDATA[EZLN]]></kwd>
<kwd lng="en"><![CDATA[contemporary art]]></kwd>
<kwd lng="en"><![CDATA[community]]></kwd>
<kwd lng="en"><![CDATA[Minerva Cuevas]]></kwd>
<kwd lng="en"><![CDATA[Antoni Abad]]></kwd>
<kwd lng="en"><![CDATA[Rhizomática]]></kwd>
</kwd-group>
</article-meta>
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