<?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>S2477-91992025000100003</article-id>
<article-id pub-id-type="doi">10.26807/cav.v10i19.618</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[NOISE COMO HERRAMIENTA ARTÍSTICA DE RESISTENCIA Y CUESTIONAMIENTO EN LA SOCIEDAD ECUATORIANA]]></article-title>
<article-title xml:lang="en"><![CDATA[Noise as an Artistic Tool of Resistance and Questioning in Ecuadorian Society]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Miguez Gordillo]]></surname>
<given-names><![CDATA[Edison Amador]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Nacional de Chimborazo  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Ecuador</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>11</month>
<year>2025</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>11</month>
<year>2025</year>
</pub-date>
<numero>19</numero>
<fpage>24</fpage>
<lpage>37</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_arttext&amp;pid=S2477-91992025000100003&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_abstract&amp;pid=S2477-91992025000100003&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_pdf&amp;pid=S2477-91992025000100003&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen El ruido como forma de expresión artística y política ha ganado relevancia en diversos contextos culturales, especialmente en la música experimental y subculturas. En Ecuador, el noise ha emergido como una herramienta de resistencia, cuestionando las normas sociales y políticas a través de su estética disruptiva. Colectivos y artistas han utilizado este género para manifestar descontento y promover una crítica social, adaptando influencias internacionales a su propio contexto. Al desafiar la percepción convencional del sonido, crea una atmósfera de desorden y caos que refleja las tensiones sociales y políticas. La influencia de movimientos como el Fluxus y artistas como John Cage y Luigi Russolo se fusiona con la realidad ecuatoriana, ofreciendo un espacio para la reflexión y la acción contra la opresión. Este fenómeno no solo es un acto sonoro, sino un posicionamiento político, donde el sonido se convierte en un vehículo para el cambio y la subversión cultural.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract As a form of artistic and political expression, noise has gained relevance in diverse cultural contexts, especially in experimental music and subcultures. In Ecuador, noise has emerged as a tool of resistance, questioning social and political norms through its disruptive aesthetics. Collectives and artists have used this genre to express discontent and promote social critique, adapting international influences on their own context. By challenging conventional perceptions of sound, it creates an atmosphere of disorder and chaos that reflects social and political tensions. The influence of movements like Fluxus and artists like John Cage and Luigi Russolo blends with the Ecuadorian reality, providing a space for reflection and action against oppression. This phenomenon is not just a sonic act, but a political stance, where sound becomes a vehicle for change and cultural subversion.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[ruido]]></kwd>
<kwd lng="es"><![CDATA[arte]]></kwd>
<kwd lng="es"><![CDATA[política]]></kwd>
<kwd lng="es"><![CDATA[resistencia]]></kwd>
<kwd lng="es"><![CDATA[noise]]></kwd>
<kwd lng="es"><![CDATA[subculturas]]></kwd>
<kwd lng="es"><![CDATA[crítica social]]></kwd>
<kwd lng="es"><![CDATA[cambio cultural]]></kwd>
<kwd lng="en"><![CDATA[noise]]></kwd>
<kwd lng="en"><![CDATA[art]]></kwd>
<kwd lng="en"><![CDATA[politics]]></kwd>
<kwd lng="en"><![CDATA[resistance]]></kwd>
<kwd lng="en"><![CDATA[noise]]></kwd>
<kwd lng="en"><![CDATA[subcultures]]></kwd>
<kwd lng="en"><![CDATA[social critique]]></kwd>
<kwd lng="en"><![CDATA[cultural change]]></kwd>
</kwd-group>
</article-meta>
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