Nodo magazine is a biannual publication edited by the Faculty of Arts and the Vice-Rector's Office for Science, Technology and Innovation (VCTI) of the Antonio Nariño University (UAN), in Bogotá, Colombia. Publishes articles on scientific and technological research and creation, reflection and review in arts and humanities, with transversal axes such as city, creative and cultural industries, emerging aesthetics, processes derived from research creation that, from disciplined and planned structures, generate new knowledge, technological developments and innovations applied to current issues that impact societies in general.
Copyright (c) 2026 Norma Patiño https://creativecommons.org/licenses/by-nc-sa/4.0
Presentation of the topic of issue 40 of Nodo,
Copyright (c) 2026 https://creativecommons.org/licenses/by-nc-sa/4.0
Por un arte al servicio del pueblo: Frente Nacional de Artes Plásticas (1952-1963), de Raúl Cano Monroy
<pre id="tw-target-text" class="tw-data-text tw-text-large tw-ta" dir="ltr" tabindex="-1" role="text" data-placeholder="Traducción" data-ved="2ahUKEwj7hN7-396UAxWN8MkDHUdhKZMQ3ewLegQIDRAV" aria-label="Texto traducido: The book offers an in-depth look at the history of the National Front of Plastic Arts, a group that, between 1952 and 1963, promoted Mexican art nationally and internationally, defending realism as the predominant style.">The book offers an in-depth look at the history of the National Front of Plastic Arts, a group that, between 1952 and 1963, promoted Mexican art nationally and internationally, defending realism as the predominant style.
Copyright (c) 2026 Dina Comisarenco Mirkin https://creativecommons.org/licenses/by-nc-sa/4.0
Inés Amor y los primeros años de la Galería de Arte Mexicano, de Eréndira Derbez
<pre id="tw-target-text" class="tw-data-text tw-text-large tw-ta" dir="ltr" tabindex="-1" role="text" data-placeholder="Traducción" data-ved="2ahUKEwj7hN7-396UAxWN8MkDHUdhKZMQ3ewLegQIDRAV" aria-label="Texto traducido: Through exhaustive research in the archives of the Mexican Art Gallery, Eréndira Derbez takes us to discover how Inés Amor made her way in a male-dominated world and defied stereotypes to become one of the most influential figures in Mexican art.">Through exhaustive research in the archives of the Mexican Art Gallery, Eréndira Derbez takes us to discover how Inés Amor made her way in a male-dominated world and defied stereotypes to become one of the most influential figures in Mexican art.
Copyright (c) 2026 Dina Comisarenko Mirkin https://creativecommons.org/licenses/by-nc-sa/4.0
Dance in times of war. A view to the german expressionism and the roots of butoh
In this text I propose to delve into a philosophical and anthropological review of some phenomena that permeated the construction of dance in the prewar and postwar era, specifically under two socioculturals con­texts: on one hand, from some aesthethic manifestations that emerged during the time of German expressionism and, on the other, from a brief approach to the roots of butoh dance in Japan. This critical review will allow us to understand the importance of the body experience in the construction of social sense, especially in a context of deep crisis.
Copyright (c) 2026 Nayeli Pérez Monjaraz https://creativecommons.org/licenses/by-nc-sa/4.0
Naó: spiral sound healing as an intercultural research-creation device
Copyright (c) 2026 Paola Tásai https://creativecommons.org/licenses/by-nc-sa/4.0
Transsexuality in the photographic work of Susana Casarin
Throughout human history, taboos and prejudices have existed, along with scientific attacks against transgender and transvestite people. Today, this important discussion continues, aiming to raise awareness and demand their human rights. In this work, I will share some reflections on the photographic work of Susana Casarin, who has brought visibility to transgender people in her series Realities and Desires (2012), Muxes and Apsaras (2020), which have been exhibited in national and international museums. Furthermore, one of her series, Muxes, inspired a very interesting short documentary by screenwriter and director Javier Solórzano Casarin. Photography, as an art discipline, has played a relevant role in this sense and is a support for showing these people in their essence.
Copyright (c) 2026 Norma Salazar https://creativecommons.org/licenses/by-nc-sa/4.0
Aesthetics of the Commons on the Migratory Phenomenon in the Work of Zanele Muholi, Marta Palau, and Lara Ruiz
Where does the political agency of migrant art reside? In contrast to analyses centered on testimony or representation, this article argues that its critical force is fundamentally methodological. Drawing on a framework that integrates border thinking (Mignolo) as an epistemology of exteriority, black feminist critique (Lorde, hooks) as a theory of the gaze, and the agency of matter (Bennett) as a political ontology, we argue that the migrant condition activates poetics of remaking: formal and material strategies that translate the experience of displacement into critical procedures. A comparative analysis of Zanele Muholi, Marta Palau, and Lara Ruiz identifies three such strategies: 1) sovereign self-inscription, which establishes the body as a counter-archive; 2) transcultural material synthesis, which ritualizes mourning in matter; and 3) relational cartography, which produces the common through co- creation. Beyond their diversity, these practices converge in deactivating the spectacular aesthetics of trauma through specialized material tactics—over- inscription, materialization, and repair—that constitute an immanent critique of the necropolitical regime of the border. The article’s main theoretical contribution is the concept of an “aesthetics of the commons”, defined here in critical dialogue with its conservative genealogy (Hardin, 1968), yet reappropriated from a decolonial and feminist perspective as a material performance of the common. This concept synthesizes the political imaginary prefigured by the work of the selected artists: a horizon in which the common is performed as a sovereign body, material memory, and shared ground. Thus, the article repositions the debate, demonstrating that political transformation in migrant art is not proclaimed, but enacted through making.
Copyright (c) 2026 Raquel Lara Ruiz, Felismino Borges Da Silva https://creativecommons.org/licenses/by-nc-sa/4.0
Political performance and collective action. Pedagogical tools for social change
This article aims to discuss an analytical approach to the relationship between three important areas of study in the social sciences and humanities: 1) political performance, 2) collective action, and 3) non-school-based pedagogical processes. Through the theoretical foundations developed specifically for these areas, the first part proposes a path that integrates their key concepts to understand how political performance, as a strategic component of protest, acts as a device that transcends its role in transmitting grievances or demands that challenge authority, institutions, and the State itself. At the same time, it produces effects of awareness-raising within collectives, communities, and society in general, regarding being and the world. Thus, the process of awareness-raising is understood as part of the learn­ing inherent in social change. Several emblematic cases of social movements and collective actions are presented, whose resonances exemplify the articulation of these areas.
Copyright (c) 2026 Guadalupe Olivier Téllez https://creativecommons.org/licenses/by-nc-sa/4.0
When space remembers: Death rises in the East
This research analyzes the artistic project La muerte sale por Oriente (2014-present) developed by the artist Sonia Madrigal. It consists of a documentary photography record, an artistic action, and the construction of a collective map. The research examines how the project carries out a public intervention to confront and denounce gender-based violence in highly marginalized spaces. Accordingly, the aim of this text is to explain that La muerte sale por oriente functions as a tool of denunciation and struggle against gender- based violence, as it operates through an aesthetic–affective experience intended to transform the symbolic structures that constitute gender-based violence. At the same time, the text is grounded in the theoretical frameworks of Patricia Hill Collins, Andrea Giunta, Mara Polgovsky, and Rosalyn Deutsche. It also incorporates a methodology drawn from feminist studies and art theory.
Copyright (c) 2026 Cecilia Itzel Noriega Vega https://creativecommons.org/licenses/by-nc-sa/4.0
Teresa Margolles, Laura Valencia and Fabiola Rayas: a work that confronts violence head-on
For more than twenty years, artistic practices have been developing in the public space, in order to make visible the forms of violence that impact Mexican civil society. Initiated by collectives working or not with artists, the use of artistic forms invites us to question what potentialities creation contains, what aesthetics are implemented in the face of violence and with what impacts. The analysis focuses on two generations of women artists who have placed social and political violence at the heart of their practice: Teresa Margolles (1965), Laura Valencia (1979) and Fabiola Rayas (1985). Each portrait aims to understand how art moves from the museum to the street and the changes induced by this movement in terms of elaboration, reception and exhibition. The analysis allows us to question the links between art and artivism, the role played by the body and the originality of the resulting work.
Copyright (c) 2026 Caroline Perrée https://creativecommons.org/licenses/by-nc-sa/4.0
Solidaridad, dolor y resistencia: el mural de Sofía Bassi y sus colegas rupturistas tras las rejas
The text analyzes the mural created in the Acapulco prison by the Surrealist painter Sofía Bassi, with the supportive collaboration of her colleagues from La Ruptura movement: Alberto Gironella, José Luis Cuevas, Rafael Coronel, and Francisco Corzas. The paper begins with a summary of the life of the artist and of her tragic fate following the murder of her son-in-law, for which she took responsibility, always claiming it was an accident. It then offers a detailed iconographic analysis of each of the mural's sections, paying particular attention to their individual and shared themes, the use of intertextual artistic references, and the inclusion of portraits and self-portraits, especially of Bassi herself and her daughter Claire. Special attention is given to the section entitled La Calumnia, created by Bassi, contextualizing the work with the artist´s pictorial and philosophical sources, and above all highlighting her extraordinary defense of her daughter throughout the process. Finally, the text reflects on art as a means of overcoming pain, protesting, and social resistance, as well as on the importance of the collective mural in the history of Mexican art, both for its powerful denunciation of the abuses of power and the fragility of justice in 1960s Mexico, and for its defense of human rights in general, and of women's rights in particular.
This essay introduces an operational lexicon and a methodological procedure for approaching research-creation as situated knowledge production. Grounded in an autoethnographic point of departure shaped by violence in Mexico, it defines apparatus (perception/archive/activation), the feral, and feral epistemologies, alongside two positional axes: locus of enunciation and epistemic displacement. It frames the apparatus as a relational structuring principle and the feral as an orientation beyond domesticated frameworks of intelligibility, and proposes Sensing-Based Transdisciplinary Artistic Research (S-BTAR) as a procedure that links conceptual tools to creative decisions. The argument is evidenced through case studies including 2487, detritus, power · room, and Vis.[un]necessary force_ 1.01.
Copyright (c) 2026 Luz María Sánchez Cardona https://creativecommons.org/licenses/by-nc-sa/4.0
<pre id="tw-target-text" class="tw-data-text tw-text-large tw-ta" dir="ltr" tabindex="-1" role="text" data-placeholder="Traducción" aria-label="Texto traducido: Sculptor Maribel Portela (Mexico City, 1960) presented Arboleda sonora at the Museum of Modern Art in Mexico City from March to June 2024. Art critic Irving Domínguez analyzes the forty-five pieces that were part of this exhibition." data-ved="2ahUKEwj4l5v4n5eUAxW7nWoFHdADDTkQ3ewLegQIDRAV">Sculptor Maribel Portela (Mexico City, 1960) presented Arboleda sonora at the Museum of Modern Art in Mexico City from March to June 2024. Art critic Irving Domínguez analyzes the forty-five pieces that were part of this exhibition.
Copyright (c) 2026 Irving Domínguez https://creativecommons.org/licenses/by-nc-sa/4.0
In this essay, I analyze the relationship between performing arts (in this case, contemporary dance) and a synchronic materialization that produces something distinct, traditionally located within the visual arts. The relationship between the ephemeral and the material, in the media of dance and drawing, initially unfolds within a performative and creative space while simultaneously generating clearly differentiated medial spaces. The essay focuses on the gaze in multiple manifestations: in the observation and materialization of the ephemeral (dance) observed by the artist; in the gaze as a conceptual metaphor; and in the way it shapes the archive under construction. This archive is based on the legacy of the visual artist, painter, video­grapher, and scenographer Eduardo López Lemus, and includes his works and observations (again, as a specific gaze), as well as reflections on the conceptualization of the archive itself. Once again, we encounter the presence of the gaze, now in the form of visual concepts, exemplified by second-order observation transformed into action, and absence as a problem of representation.
Copyright (c) 2026 Silvia Pappe https://creativecommons.org/licenses/by-nc-sa/4.0
Imagen, figura y salvajismo: : una apuesta afectiva desde la práctica artística en la conformación de imaginarios en resistencia
This paper contributes to a critical reflection on the scope of the affective as a new paradigm in the study of the contemporary image. In this context we consider the sensitive and collaboration as a new horizon where the emerging paradigm of artistic development is announced. Four visual projects are proposed and analyzed that fundamentally focus on the affective turn as a mode of resistance, in light of Jean François Lyotard's notions of figure and savage.
Copyright (c) 2026 Juliana Rojas https://creativecommons.org/licenses/by-nc-sa/4.0
Epistemological praxis: Art and investigation as process of knowledge production
Artistic creation and scientific research constitute two fundamental pillars in the construction of human know­ledge. In recent decades, a significant epistemological transformation has challenged the traditional division between them, leading instead to a more nuanced examination of their interrelationship. The primary ob­jective of this research is to explore and problematize the existing relationships between these two endeavors through the analysis of documentary sources and the authors’ reflections on their own experience as re­searchers and creators. The most relevant findings suggest that artistic creation and research generate both cognitive and aesthetic knowledge.
Copyright (c) 2026 Mabel Arellano Luna, Elsa Herrera Bautista https://creativecommons.org/licenses/by-nc-sa/4.0
Ciudad futura: panoramas utópicos y distópicos
<pre id="tw-target-text" class="tw-data-text tw-text-large tw-ta" dir="ltr" tabindex="-1" role="text" data-placeholder="Traducción" data-ved="2ahUKEwj007b017KUAxXlnGoFHb0gPDQQ3ewLegQIDRAV" aria-label="Texto traducido: The Future City: Utopian and Dystopian Panoramas is a pictorial research-creation project undertaken with the support of the National System of Art Creators, granted by the Ministry of Culture of the Government of Mexico, through the System of Support for Creation and Cultural Projects (SACPC). It consists of the creation of fictional panoramas of the future of Mexico City, based on photographic records from a series of ethnographic field trips, as well as press images and personal drawings.">The Future City: Utopian and Dystopian Panoramas is a pictorial research-creation project undertaken with the support of the National System of Art Creators, granted by the Ministry of Culture of the Government of Mexico, through the System of Support for Creation and Cultural Projects (SACPC). It consists of the creation of fictional panoramas of the future of Mexico City, based on photographic records from a series of ethnographic field trips, as well as press images and personal drawings.
Copyright (c) 2026 Maria Campiglia https://creativecommons.org/licenses/by-nc-sa/4.0
Mirar desde adentro: producción audiovisual indígena frente a la violencia del archivo
This article analyzes a set of audiovisual practices by Indigenous women creators as critical interventions in hegemonic regimes of representation and in the ways archives have historically organized the image. By approaching the archive as a technology that fixes, classifies, and regulates meaning, the article proposes understanding audiovisual practices not merely as representational media, but as spaces for the production of situated memory, experience, and political agency.Drawing on the notion of looking from within, the text examines how these practices displace the position assigned to Indigenous images within institutional and media archives, activating forms of production that exceed their organizing logic. The analysis is based on a delimited corpus which allows for observing different regimes of visibility and their transformations. Rather than constituting a pure outside, these practices introduce fissures within regimes of registration and cir­culation, reconfiguring relationships between body, territory, time, and authorship from situated cultural frameworks. Engaging with visual culture studies and contemporary critiques of the archive, the article argues that these practices not only transform modes of representation, but also open zones of opacity where meaning does not fully stabilize, enabling alternative ways of thinking about images, memory, and knowledge beyond universal or hegemonic categories.
Copyright (c) 2026 María Cristina Luna-Tamayo https://creativecommons.org/licenses/by-nc-sa/4.0
The lesbian body as an enunciative position in the visual arts. A critical- creative essay from artistic practice and the autobiographical archive
This critical-creative essay reflects on the lesbian body as an enunciative position in the visual arts through an intersection of historical analysis, feminist art theory, artistic practice, and the author’s autobiographical archive. In response to a visual imaginary of lesbianism historically constructed through the heterosexual male gaze, one that has reduced relationships between women to an erotic and fetishized spectacle for consumption, the text proposes the recovery of genealogies, lived experiences, and modes of representation that emerge from lesbian authorship and non-normative sexual dissidences. The essay articulates two categories for thinking about lesbian art: on the one hand, works that explicitly represent erotic, affective, or intimate bonds between women; on the other, artistic productions across diverse artistic languages whose lesbian potency operates in subtle, symbolic, or political ways through the identity, life experience, and positionality of their authors. Through historical and contempora­ry examples from visual, performative, and audiovisual practices, the text sketches the construction of a counter-archive that makes visible bodies, desires, and affects traditionally marginalized from hegemonic art historical narratives. Written from a situated perspective, the essay integrates personal experience and artistic practice as legitimate forms of knowledge production, understanding the autobiographical archive, memory, and time as spaces of resistance. In this way, lesbian being is affirmed not merely as an object of representation, but as an active position of enunciation, artistic creation, and the production of new visual cartographies.
Copyright (c) 2026 Lila Jamieson https://creativecommons.org/licenses/by-nc-sa/4.0
Caracterización cuantitativa de las producciones audiovisuales en cine y televisión en el departamento del Meta (Colombia) entre 2000 y 2025
This article analyzes the evolution of film and television production in the Meta department (Colombia) between 2000 and 2025. Using a quantitative methodology, 85 technical records were systematized to identify trends in format, duration, genre, themes, circulation, and recognition. Short films dominated over feature films, with a significant presence of fiction and documentary productions focusing on everyday life, Llanero traditions, collective memory, and the armed conflict. The year 2019 marked a production peak, aligning with national audiovisual industry growth. Despite receiving awards at festivals such as Pele el Ojo and Crisol, most productions circulate only locally. A heavy dependence on public funding and limited national and international distribution were noted. The study concludes that audiovisual production in Meta has evolved toward more critical, diverse, and socially engaged narratives but requires comprehensive strategies to strengthen distribution, preservation, professional training, and the establishment of a regional audiovisual archive. Audiovisual media emerge as a key tool for symbolic territorial construction and memory-building in the post-conflict context.
Copyright (c) 2025 Andrés Molano Téllez https://creativecommons.org/licenses/by-nc-sa/4.0
El olor de Bucaramanga, Colombia, en las memorias enunciadas por habitantes urbanos
El cuerpo del actor social entreteje la historia personal y colectiva; en él se encauzan distancias y aproximaciones ante los estereotipos sobre el hábitat. Este artículo expone resultados de la investigación cualitativa de la valoración del entorno sociocultural según la memoria olfativa expresada por los testimonios de cin­co habitantes de Bucaramanga, Colombia. El proceso cien­tífico establece cómo el modo de decir del olor dinami­za el pensamiento y el hacer en el entorno de vida. En este estudio de casos, los datos que relacionan las per­cepciones olfatorias con simulacros de la ciudad son tratados con la lingüística y la semiótica de las prácticas culturales. Los tres regímenes de enunciación encontrados expresan los prediscursos sobre el espacio habitado a modo de una cartografía que, desde la sen­sibilidad, es expresada verbalmente por los informantes. Conclusivamente, queda establecida la pertinencia de la palabra íntima de los habitantes urbanos que expresan cómo sobrellevan la vida en las inmediaciones de un entorno urbano padecido cotidianamente.
Copyright (c) 2025 José Horacio Rosales Cueva, Juan Sebastián Vargas Trujillo, Juan David Osma Bernal https://creativecommons.org/licenses/by-nc-sa/4.0
Chilean muralist and set designer Alejandro "Mono" González at the Filuni in Mexico
Review of “Mono” González’s participation in Filuni Mexico.
Copyright (c) 2025 Merry MacMaster https://creativecommons.org/licenses/by-nc-sa/4.0
<pre id="tw-target-text" class="tw-data-text tw-text-large tw-ta" dir="ltr" tabindex="-1" role="text" data-placeholder="Traducción" data-ved="2ahUKEwib4Kj5uuqQAxWK5ckDHZV9NsoQ3ewLegQIChAV" aria-label="Texto traducido: Introductory remarks to the exhibition “Intervened Portraits”, by Mexican photographer Rogelio Cuellar, which was presented at the University Book House (Casul) of the UNAM, Mexico City, from September 6 to October 10, 2025.">Introductory remarks to the exhibition “Intervened Portraits”, by Mexican photographer Rogelio Cuellar, which was presented at the University Book House (Casul) of the UNAM, Mexico City, from September 6 to October 10, 2025.
Copyright (c) 2025 Edgardo Bermejo Mora https://creativecommons.org/licenses/by-nc-sa/4.0
Notes on the notion of territory in architecture
Understanding the relationships and links between architecture and territory concepts from the discipline of architecture approach, it contributes to the academic debate on the role of territory in the praxis and to reduce the conceptual gap in academic and professional production. %e preliminary delineation of binding axes is the result of the investigation around some publications of specialized authors, as well as conceptual validation by the interview in the professional field and by survey in the academic field. %e discussion considers the disciplinary and conceptual autonomy, the complexity of interactions within a scheme articulated by the project outline and the notion of place from the object, and acting under guiding principles of the practice and mainstreaming of habitat and landscape. Keywords: Territory; Architecture; Urbanism; Proyect; Place; Habitat; Planning; Landscape; History; Site.
Copyright (c) 2020 https://creativecommons.org/licenses/by-nc-sa/4.0
The public woman, does gender have public space?
the relationship between women and public space refers, on the one hand, to the paradigmatic public / private dichotomy in which the fundamental roles of men and women are outlined, with all their implications for the use and city enjoyment; and on the other hand, it is crossed by the multiple structural inequalities suffered by females in the bosom of society, which are also configured and visible in urban public districts. It is from this perspective that this article is framed, whose fundamental purpose is to ponder over the places that women occupy in city life, starting from the fact that they have been historically erased from the public sphere, and confined in the realm of the occult, the invisible, the unnamable. It is in this sense, that the notion of a public space, so desired by some city planners and developers, is associate with democracy, accessibility and asepsis; qualities that only seem to be present in their unifying gazes with a clear patriarchal tinge. thus, is not possible to ignore the unequal and discriminatory social structures –based on age, ideology, class, ethnic identification, gender– that make up the urban public districts and dispel the idea that in these, all human beings can enjoy the fundamental rights and approach effectively to those notions of democracy and freedom, so exalted in present cities.
Environmentally sound technology for efficient water application in integral sustainable urban development: Fraccionamiento Terralta area in Gadalajara, Jalisco, Mexico
In this paper, we propose the construction of the efficacy evaluation model; environmentally sound technology applied to the first Integrally Sustainable Urban Development (DUIS) located in the Metropolitan Area of Guadalajara, in order to analyze the environmentally sound technology hydraulic infrastructure alternatives which can be recommended in this project. /e model includes categories such as environment, technology, urban and citizen participation, and it’s proposed as an input to urban planning, which allows the visualization of how the environmentally sound water technologies could be implanted in the DUIS.
Paisaje cultural lechero, cuestión de identidad
the human being transforms the natural landscape, and landscape shapes the identity of those who inhabit it. the result of this dynamic are cultural landscapes, in constant transformation, with varying degrees of anthropization. the dairy production landscape in the cold highlands of north Antioquia is an example of a cultural landscape. the intense productive vocation and strong visual elements in this landscape have been possible due to the rural population who transformed the Andean forest into a fragmented mosaic of pastures, food plantations, water bodies and non-productive spaces, according to the needs of each historical moment. Qis paper proposes a revision of this cultural landscape, based on fieldwork and permanent observation. It focuses on the significant values and social perceptions of the landscape and its natural structure. Furthermore, the article recognizes different constructions of identity within the landscape, scrutinizing subconscious representations beyond economic profit. the texts and images are result of the landscape experience of the author. they precedes the formulation of an investigation about cultural landscapes of dairy production in north Antioquia developed the Master of Landscape Design at UPB, Medellín, Colombia.
Ground coverings in heritage buildings in Colombia
The coatings have the function of protecting the support wall from exogenous agents that may affect and degrade it. In the field of heritage, one of the most used mortars until the end of the 18th century in Colombia was the earth-based coating. This coating served as protection for walls built on the same land as the wall, the adobe or the bahareque with which it is considered to be built at least 90% of the historic centers of our country. For its development, the behavior of the different components such as soil, stabilizers, additives, binders and water must be taken into account. However, in Colombia there are few studies that determine the characteristics of these finishes in heritage buildings. That is why it is proposed in this article to inquire about the state of the art about the study of mortars on land, which allows us to approach and have the theoretical basis to carry out the characterization and behavior studies of these, so that they respond not only to the needs of restaurateurs, but to those who are interested in its application in current buildings.
Sustainable strategies for Tierra Bomba Island based on the concept of main ecological structure
The research carried out aims to provide territorial environmental management of the joint execution between the State, the Academy and the Communities as a result of a management model based on sustainability strategies, formulated from the application, in a local insular domain, of the concept of Main Ecological Structure (MES), and taking as a case study the island Tierra Bomba. The proposed sustainability strategies seek, from the natural resources and social interactions, to guide the actions of preservation, restoration, sustainable use and productive activities, based on the biophysical elements that are part of the MES of the Island for participating in the development of its social and ecological function. These are also being negatively affected in terms of quality, extension and connectivity, fundamentally due to inadequate urban expansion processes, with the consequent increase in the extension and magnitude of the constructions present in the littoral and on the continental soil and the reduction of the borders between urban settlements and the biomes of the Island.