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   1. < dc:title lang =" ca-ES " > #Yosoy132: Hypervisuality And Social Networks In Mexico </ dc:title >

   2. < dc:title lang =" es-ES " > #Yosoy132: Hypervisuality And Social Networks In Mexico </ dc:title >

   3. < dc:creator > Mraz-Bartra, Anna Lee </ dc:creator >

   4. < dc:subject lang =" ca-ES " > Hypervisuality </ dc:subject >

   5. < dc:subject lang =" ca-ES " > social movement </ dc:subject >

   6. < dc:subject lang =" ca-ES " > #YoSoy132 </ dc:subject >

   7. < dc:subject lang =" ca-ES " > social network </ dc:subject >

   8. < dc:subject lang =" ca-ES " > media </ dc:subject >

   9. < dc:subject lang =" ca-ES " > collective action </ dc:subject >

   10. < dc:subject lang =" ca-ES " > Mexico </ dc:subject >

   11. < dc:subject lang =" ca-ES " > social capital </ dc:subject >

   12. < dc:description lang =" ca-ES " > This work is an attempt to describe and analyze specific elements of #YoSoy132 as part of a social struggle in the technological and hypervisual world to which we belong, and whose networks of significance are woven by modern and technical media. Hence, social movements should be studied within the framework of this hypervisuality, as well as the cultural redefinition that emerged from the technological information and communication (TIC) that modify collective action and the organization of social movements. Such network-based protests appeal to the emotions of the population with the use of socially-engaged documentary images. People communicate, organize and build social capital through them, using images as tools for social criticism to disclose what would otherwise be left in the dark, rather than as simple illustrative elements. The movement of #YoSoy132 arose during the spring of 2012 in Mexico, as a reaction against the misinformation provided by the television duopoly (Televisa and TVAzteca); protesters used the hypervisual context to their advantage. However fleeting the movement was, it managed to break the information blockade that largely determines the political, economic and social life in Mexico. But how did they do it? What characterizes this movement in particular? Did it lay the foundation for movements in the future? </ dc:description >

   13. < dc:description lang =" es-ES " > Este trabajo es un intento por describir y analizar elementos específicos del movimiento #YoSoy132 como parte de una lucha social en el mundo tecnológico e hipervisual al que pertenecemos y cuyas redes de significación están tejidas por medios modernos y técnicos. Los movimientos sociales deben ser estudiados en el marco de esta hipervisualidad, así como la redefinición cultural que surgió de la información y comunicación tecnológica que modifican la acción colectiva y la organización de los movimientos sociales. Tales protestas basadas en redes apelan a las emociones de la población con el uso de imágenes documentales socialmente comprometidas. Las personas se comunican, organizan y construyen capital social a través de ellas, utilizando las imágenes como herramientas para la crítica social para revelar lo que de otro modo quedaría en la oscuridad, más que como simples elementos ilustrativos. El #YoSoy132 surgió durante la primavera de 2012 en México, como una reacción contra la desinformación proporcionada por el duopolio de televisión (Televisa y TVAzteca). Los manifestantes usaron el contexto hipervisual para su beneficio. Por muy fugaz que fuese el movimiento, logró romper el sesgo de información que determina en gran medida la vida política, económica y social en México. Pero, ¿cómo lo hicieron? ¿Qué caracteriza este movimiento en particular? ¿Estableció las bases para los movimientos en el futuro? </ dc:description >

   14. < dc:publisher lang =" ca-ES " > Universitat de Barcelona </ dc:publisher >

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   20. < abstract > This work is an attempt to describe and analyze specific elements of #YoSoy132 as part of a social struggle in the technological and hypervisual world to which we belong, and whose networks of significance are woven by modern and technical media. Hence, social movements should be studied within the framework of this hypervisuality, as well as the cultural redefinition that emerged from the technological information and communication (TIC) that modify collective action and the organization of social movements. Such network-based protests appeal to the emotions of the population with the use of socially-engaged documentary images. People communicate, organize and build social capital through them, using images as tools for social criticism to disclose what would otherwise be left in the dark, rather than as simple illustrative elements. The movement of #YoSoy132 arose during the spring of 2012 in Mexico, as a reaction against the misinformation provided by the television duopoly (Televisa and TVAzteca); protesters used the hypervisual context to their advantage. However fleeting the movement was, it managed to break the information blockade that largely determines the political, economic and social life in Mexico. But how did they do it? What characterizes this movement in particular? Did it lay the foundation for movements in the future? </ abstract >

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