Revista Científica Interdisciplinaria Investigación y Saberes

2023, Vol. 13, No. 3 e-ISSN: 1390-8146

Published by: Universidad Técnica Luis Vargas Torres

How to cite this article (APA):

Aguilar, M., Miranda, P., Chuga, A. (2023) Cultural and

religious iconography projected through video mapping in urban and rural parishes of

Cotopaxi, Revista Científica Interdisciplinaria Investigación y Saberes, 13(3) 80-94

Cultural and religious iconography projected through video mapping in

urban and rural parishes of Cotopaxi

La iconografía cultural y religiosa proyectada a través del vídeo mapping en parroquias

urbanas y rurales de Cotopaxi

Mike Orlando Aguilar Orozco

Master's Degree. Degree in Graphic Design, Teacher, Universidad Técnica de Cotopaxi.

mike.aguilar@utc.edu.ec, https://orcid.org/0000-0002-6061-2581

Paloma Carolina Miranda Patiño

Graphic Design Career Universidad Técnica de Cotopaxi, paloma.miranda4506@utc.edu.ec

https://orcid.org/0009-0003-5823-0810

Andy Josué Chuga Toapanta

Graphic Design Career. Technical University of Cotopaxi, andy.chuga1115@utc.edu.ec

https://orcid.org/0009-0006-8182-5814

Iconography is important in design and digital projects, so that they

allow to visualize a deeper meaning and identify elements of an

artistic work and the absence of those, therefore, this research aims

to analyze the iconography of video mapping of the period August

2022, so that the iconographic and iconological method of Erwin

Panofsky was used, which includes a complex external and internal

meaning of the modular compositions, achieving to deepen the visual

aesthetic aspects, intrinsic, as well as its historical-cultural context of

the urban and rural parishes of Cotopaxi, In conclusion, this case study

determined that visual communication strengthens cultural

knowledge by means of symbology through new technologies, which

leads to determine that it is important for the new generations to

know and value their roots, providing a sense of identity as belonging,

which helps to understand who we are?, Where do we come from,

and what is our place in the world?

Keywords:

Iconography, Religious-Cultural, Panofsky, Video

mapping, Latacunga.

Abstract

Received 2023-02-11

Revised 2023-03-13

Published 2023-09-07

Corresponding Author

Mike Orlando Aguilar Orozco

mike.aguilar@utc.edu.ec

Pages: 80-94

https://creativecommons.org/lice

nses/by-nc-sa/4.0/

Distributed under

Cultural and religious iconography projected through video mapping in urban and rural parishes

of Cotopaxi

Revista Científica Interdisciplinaria Investigación y Saberes , / 2023/ , Vol. 13, No. 3

Resumen

La iconografía es importante en el diseño y en proyectos digitales,

de manera que permiten visualizar un significado más profundo e

identificar elementos de una obra artística y la ausencia de aquellos,

por lo cual, la presente investigación tiene como objetivo analizar la

iconográfica de video mapping del periodo agosto 2022, de modo

que se empleó el método iconográficos e iconológicos de Erwin

Panofsky, que comprende un significado complejo externo e interno

de las composiciones modulares, logrando profundizar los aspectos

estéticos visuales, intrínsecos, así también su contexto histórico-

cultural de las parroquias urbanas y rurales de Cotopaxi, lo que tuvo

como resultado que los iconos más representativos de cada sector

cumple con la funcionalidad de transmitir la cultura, religión y

tradición de los sectores, por medio de la técnica de difusión

multimedial, en conclusión, este estudio de caso determinó que la

comunicación visual fortalece el conocimiento cultural por medio de

la simbología a través de nuevas tecnologías, lo que se llega a

determinar que es importante que las nuevas generaciones conozcan

y valoren sus raíces brindando un sentido de identidad como

pertenencia, el cual ayuda a comprender ¿quiénes somos?, de

¿dónde venimos? y ¿cuál es nuestro lugar en el mundo?.

Palabras clave:

Iconografía, Religiosa-Cultural, Panofsky, Vídeo

mapping, Latacunga.

Introduction

The advance of new technologies influences the development of

society, which leads to the search for new visual communication

strategies that allow the attention of viewers in order to transmit the

Cotopaxense culture. It is for this reason that together with the linking

project called "Repotentiation of the cultural sector through video

mapping projects in urban and rural parishes of the canton

Latacunga", of the Technical University of Cotopaxi, in the academic

period August 2022, was carried out the participation of senior

students and teachers in charge of the project mentioned above,

Cultural and religious iconography projected through video mapping in urban and rural parishes

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which was put into practice the transfer of technology and knowledge

to these areas.

The relationship of culture and visual communication comprises a very

deep meaning, visual culture is the set of visual elements that

surround and involve a society, conditioning their way of living and

thinking. Within the visual culture are introduced different fields of

study or work such as: art history, sculpture, philosophy,

anthropology, advertising, fashion, etc. (García and Coca, 2018, p.8).

Cultural icons are classified as tangible, intangible, and natural, a

cultural icon is a representative physical aspect of a place, but also its

gastronomy or its popular festivals and traditions, which can be

representative as any tangible element of a place, so tourists will

actively participate in these activities and, therefore, they will be

experiencing an experience that we could qualify as iconic. In fact, the

cultural scope that includes iconization is very broad and varied, since

the mental associations that we can make with a city or a country are

multiple. MacCannell (2003, p.291).

Iconography is visualized by an ideological charge, as well as in

aesthetics, with a marked geometric abstraction that expresses a

particular way of seeing the world. Jesús Ruiz defines iconography as

a discipline to identify images, stories, allegories and symbols (Ruiz,

2002, p.17). Thus, indigenous iconography "represents myths and

rites linked to cyclical ceremonial and agricultural calendars, with a

constant and present theme" (Ruiz, 2002, p.17).

Multimedia design in Ecuador is recent and at the same time, an

untapped field, in its area includes audiovisual production, web

design, 2D and 3D animation, character design, application

development, among others. Multimedia is an open space for

developers and entrepreneurs. New branches are constantly opening

in which they can venture, technologies that have changed consumer

behavior such as Smartphones, Tablets, Digital Television, among

others, which will boost designers and Ecuadorian design (Allauca,

2014).

Video mapping is a projection technique with audiovisual content,

which requires visual and sound knowledge. Thus, in the article "From

video mapping to digital representation: space and mediation"

(Rojas, 2018) mentions that "Video-mapping is defined as a media

Cultural and religious iconography projected through video mapping in urban and rural parishes

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device that projects images and animations on concrete surfaces,

which are transformed into large-scale photograms or videograms,

which can allude to projections with movements of imaginary

animations" (p.134). Moreover, this technique is divided into three

areas: advertising, architectural and scenographic.

Advertising Video-mapping. - This type of video-mapping is focused

on the presentation of products, brand events or advertising

campaigns. They are used by advertising and/or marketing

departments, to launch a new product to the market." (Rodriguez,

2020, p.16).

Scenographic video-mapping. - Video-mapping focuses on

generating scenes and environments in a different way. It is a creative

option as an alternative when designing the scenography of a play,

opera, a film set or a music festival (Rodriguez, 2020, p.16).

Architectural video mapping. - It could be understood as one more

aspect of the scenographic mapping. It is projected on buildings,

both in interior and exterior spaces, it is usually seen in representative

buildings of large capitals, during cultural events or any festival. Its

purpose is to temporarily embellish the architectural value of the

building, telling the story of the place or simply giving an imaginary

touch to the architecture (Rodriguez, 2020, p. 17).

As a reference we have that for the year 2016 Quito became the first

city in the American continent to host the first festival called "Festival

of Light", thanks to the collaboration between the City of Lyon and

the Municipality of Quito.(El Comercio, 2016). It took place in the

Historic Center of Quito during five nights in the month of October.

This festival was inspired by the natural diversity of the country, being

projected simultaneously on seven buildings: La Compañía, La

Merced, Santo Domingo, Plaza del Teatro, Museo de la Ciudad, Plaza

Hermano Miguel and the Metropolitan Cultural Center.

According to the Ministry of Tourism of Quito, stressed that the

objective of this activity is that the Quiteños recover pride in the city,

due to the fact that Ecuador has the most important heritage jewel of

America, in addition, it was mentioned that this action is an invitation

to appropriate and make known the colonial treasure of the capital

(MITUR, 2017). According to data collected by the Municipality of

Quito, about 1.5 million people participated in the night event,

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causing such an impact on locals and tourists, that it was established

that the capital requires an annual event to visivilize its heritage and

culture at national and international level (MITUR, 2017).

The event had several limitations that led to its cancellation among

them has been detected the excessive cost to carry out the various

projects, to use the latest equipment that for that time did not have

the city, another problem that changed the course of the festival of

lights was the pandemic, for safety avoided the massive collapse of

people who resorted to these projections and thus culminated the

events where the management of a crowd of people was required.

According to Carrera (2018), he states, "Empresa Pública

Metropolitana de Aseo de Quito (EMASEO EP) made a balance of the

operation carried out during the Festival of Light 2018, in the Colonial

Quarter of the capital. During the five days of the event, a total of 735

tons of waste deposited by attendees in the collectors that were

installed at various points were lifted".

Based on this background, it was concluded that the use of

multimedia resources within the cultural field is a feasible strategy to

disseminate and strengthen a positive message to the community,

such as the video mapping technique that is being implemented in

Ecuador to relegitimize a discourse regarding the historical past of a

space, strengthening a socio-cultural construction and in turn a tactic

to attract tourism.

Methodology

The systematic comparison of objects of study by means of the

comparative method was applied to arrive at empirical

generalizations and to test hypotheses; this method has a long

tradition. Although it is also used in other disciplines, what is meant

by the comparative method in methodological writings and research

practice is extremely varied, partly because the term is often used as

a synonym for comparison, comparative analysis or comparative

research (Nohlen, D. (2020).

The comparative method was used to analyze the similarities and

differences of the projects for which video mapping proposals were

selected, in which the iconography, chromatic aspects were

examined, where the harmony of color, its organic and geometric

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form, the cultural or religious context were identified, taking into

account the popular, agricultural, saints and festivities aspects. We

also took into account multimedia effects such as plugins, animations

and layer adjustments of the editing software.

On the other hand, the iconographic method implemented by the

German historian Erwin Panofsky, this method was aimed at

discovering hidden symbolisms behind the apparent naturalism of a

work and under three categories of study: pre-iconographic,

iconographic and iconological, which includes a complex meaning

both internal and external of the visual graphics, this is because the

author developed his method taking as a reference to visual semiotics

(Panofsky, 2003, p. 45). The pre-iconographic description analyzes the

work within the formal stylistic field, appealing to the fundamental

information that the senses can offer us. The initial and simple

presentation of an object may contain and encompass others, for

example, a high altar, a frontispiece, a mausoleum, a temple, etc., in

which other smaller elements intervene and are part of a "whole". It

consists of detailing the most relevant aspects that can capture our

senses, namely: height, width, depth, the elements that make up the

whole, some aesthetic particularities, characters, landscapes, even the

colors, materials and decorations, etc (Armendariz, Sosa and Puca,

2013, p.31).

Iconographic analysis refers to the accompanying elements, attributes

and characteristics of the work. At this level, which is somewhat more

complex, it corresponds to the guide to analyze, in an orderly manner,

each of the components that are part of a work, its characters and

their meanings, their orders, their complexities, etc. Hernández, M. R.

(2019). For the case study, it delves into the particular analysis of its

characteristics and its valuation as part of the heritage legacy of the

nation. In such virtue, it corresponds to the guide to transmit not only

those visual aesthetic elements, but also their intrinsic meanings in the

general work, as an aesthetic set, as well as in each detail subliminal

messages that must be transmitted. Nothing is there without a visible

and hidden meaning (Armendáriz, Sosa and Puca, 2013, p.31).

The iconological analysis studies the cultural context in which the work

was executed, trying to discover the meanings that each of its

constituent elements had in its time and historical context. It delves

into the techniques, fashions, influences and the entire environment

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and cultural background that motivated and encouraged its executors

(Armendáriz, Sosa and Puca, 2013, p.31).

Taking into account the Panofsky method, the study was exemplified

based on the character El Danzante:

Figure 1.

Iconographic and iconological method sheet

Source: Own elaboration

Results

In order to carry out the selection of video mapping proposals

according to context, style and forms, by means of the comparative

method, the following analysis sheets were studied.

Table 1.

Study analysis sheet

PARISH: ALÁQUEZ

CHROMATIC

MONOCHROM

ATIC

It is monochromatic

because it uses a

white shade.

COOL

White color.

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FORM

GEOMETRICS

It presents geometric

shapes by giving it

circular form and

symmetry.

ORGANIC

They are found in the

organized design

patterns forming the

rose and its leaves.

CONTEXT

CULTURE

AGRICULTURE

Use of roses and

leaves characteristic

of the trade in the

parish.

ICON: PINK

EFFECTS

VIDEO MAPPING

PLUGINS

Presents the effect

know: Neon, Electric

and Patronus

LAYER

ADJUSTMENTS

IN AFTER

EFFECTS

Features rotation,

opacity and scale

settings.

The study analysis presented in Table 1 concludes that the icon used

by the parish of Aláquez complies with different parameters in

chromatics, form and cultural context, monochromatic colors such as

gray were taken into consideration, as well as cold tones such as black

and white, the use of geometric figures is also observed in the

representation of the circular mandala, finally, in the context of the

agricultural culture, the roses characteristic of trade in each sector

were taken as a reference.

Table 2.

Study analysis sheet

PARISH: SAQUISILÍ

CHROMATIC

MONOCHROMATIC

It has a range of blue

tones.

TRIADA

It has shades of blue,

orange and yellow.

Cultural and religious iconography projected through video mapping in urban and rural parishes

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COOL

Colors: blue, gray

and violet.

WARM

Colors: red, orange,

brown and yellow.

FORM

GEOMETRICS

It has circular,

rectangular and

triangular shapes.

CONTEXT

CULTURE

POPULAR

Customs, traditions

and artistic

expressions of the

sector.

AGRICULTURE

Representative

character of

agriculture in the

countryside.

ICON: The Dancer

MADE BY: Chacha

EFFECTS

VIDEO MAPPING

PLUGINS

Presents the effect

know: Neon, Electric

and Patronus

LAYER ADJUSTMENTS

IN AFTER EFFECTS

Features rotation,

opacity and scale

settings.

The study analysis presented in Table 2. We see the dancer of the

parish of Saquisili, taking into consideration the parameters of color,

shape and cultural context, where we can appreciate the use of

monochromatic colors such as ranges in blue tones, also observed

cold colors, gray and violet, in turn contains warm colors such as red,

orange, brown and yellow. Finally, the context was identified based

on the agricultural and popular culture, taking into account the

customs, traditions and artistic expressions of the character the

dancer who represents the agriculture of the countryside.

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Table 3.

Study analysis sheet

PARISH: SAN BUENAVENTURA

CHROMATIC

ANALOGS

It has shades of red

and brown.

MONOCHROMATI

It uses different

shades of gray and

yellow.

COOL

Colors: white and

gray.

WARM

Colors: Red, orange,

brown and yellow.

FORM

GEOMETRICS

It has triangular and

rectangular shapes.

CONTEXT

RELIGION

SANTOS

Represents Doctor

San Buenaventura.

FESTIVITIES

The inhabitants of the

parish pay homage to

Giovanni di Fidanza

or Dr. St.

Bonaventure.

ICON: DR. SAN

BUENAVENTURA

EFFECTS

VIDEO MAPPING

PLUGINS

Presents the effect

know: Neon, Electric

and Patronus

LAYER

ADJUSTMENTS IN

AFTER EFFECTS

Features rotation,

opacity and scale

settings.

The study analysis presented in Table 3. We realize that the main icon

of San Buenaventura contains aspects in chromatics, form and cultural

context, taking into account the representative shades of the

character, we can also find analogous colors such as red and brown,

monochromatic colors in gray and yellow, cold and warm colors that

complement it, on the other hand it complies with its geometric form

by representing triangular and rectangular figures, finally it contains a

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religious context alluding to Doctor San Buenaventura, to whom the

inhabitants of the parish pay homage.

For Erwin Panofsky's methodological analysis, the three phases of pre-

iconographic, iconographic and iconological identification were

carried out in order to identify the level of iconicity through the

historical-cultural context of each sector.

Table 4.

Methodological analysis sheet

The methodological analysis is presented in Table 4. The results to be

achieved in step one: it is based on the pre-iconography where the

icon is described from the elementary information provided by the

senses at the first contact as elements present in length, height, width,

Pre-iconographic

Iconographic

Iconological

ALÁQUEZ:

ROSA

Mandala-shaped

icon alluding to a

rose, using circular

geometric shapes

with white color

and black

background.

The icon represents the

production of roses that

are marketed in the

flower farms of the

sector, and the mandala

gives it a meaning of

harmony and union

through the balance of

the visual elements.

The white rose symbolizes

purity and innocence, as well as

the mandala, also known as

"sacred circle", used to

meditate and concentrate

energy.

SAQUISILÍ:

DANCER

Icon in the shape

of a person,

conformed by

geometric figures,

cold and warm

colors.

Personaje el Danzante,

is presented in several

traditional festivities in

the Cotopaxi region,

such as the corn harvest.

The dancer known as

'tushug' or rain priest. He

danced in the rituals in

gratitude for the harvests and

corn production, his colorful

costume represents the

power, freedom, mystery and

production provided by the

Pachamama.

ST.

BONAVENT

URE:

DR. SAN

BUENAVENT

URA

Icon of a religious

man, dressed in a

cold-colored robe,

holding a book

and a pencil in his

hands.

Doctor San Buenaventura

is a religious icon of the

San Buenaventura parish

in the city of Latacunga.

The San Buenaventura parish in

the city of Latacunga pays

homage to Giovanni di Fidanza

or Dr. San Buenaventura, he

holds the title of Doctor of the

Church, and scholars refer to

him as the "Seraphic Doctor".

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depth, chromatics, characters and clothing of that; from this, step two:

the iconographic study is considered which mentions the tributes and

characteristics of the icon, where the message and meaning is

interpreted, both aesthetic and its intrinsic meanings of the icon, that

is to say that it is part of the patrimonial legacy of the nation.

Finally, step three: the iconology is described in depth in the

historical, social and cultural context that will be carried out through

the creation and meaning of each of its components within its context.

From the study carried out, several similarities relevant to the research

were identified in the tables, taking into account that for the creation

of the icons we started from the Catholic religion and traditions of

each sector, thus analyzing their representative forms and colorimetry

that are in force in the communities of Aláquez, Saquisilí and San

Buenaventura, likewise, we used the method of Erwin Panofsky to

determine and identify through pre-iconography, iconography and

iconological, where we found the historical environment, historical,

iconographic and iconological, Saquisili and San Buenaventura,

likewise, the method of Erwin Panofsky was used to determine and

identify by means of the pre iconography, iconography and

iconological, where the historical, social and cultural environment was

found to understand its patrimonial meaning.

The present research aims to consider the video mapping projects

presented on the churches in the parishes of San Buenaventura,

Aláquez and Saquisilí, by which the architectural aspects were

analyzed and compared with study cards using the comparative

method, where the chromatics represent their Andean cosmovision,

religion, customs and native traditions, which facilitated their

classification. Thus, types of color harmony and contrasts were found

in the audiovisual projects. That is why Erwin Panofsky's methodology,

according to the antecedent of the article "The shepherds of

Arcadia", talks about the investigation of cultural symbols and their

reflection in artistic works and audiovisual documents, allows

complementing the semiotic analysis of the advertising creations that

incorporate them, where iconology applies its interpretation to

characters, narratives, times, structures and environments" (p, 11). In

order to decipher the visual message present in the icons, which

symbolize the representative of each place as textile products,

agricultural, floricultural and ancestral symbolism, obtaining the result

of the study approach represented that the Catholic religion and

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culture is predominant in the province of Cotopaxi. And therefore

being parishes in different sectors we realize that religion and culture

are strong and fundamental points in the localities of the highlands.

Finally, both projects seek to identify the good communication that

can transmit a good iconography for the attraction of the public.

Conclusions

In short, it is important that the new generations know and value their

roots, providing a sense of identity as belonging, which helps to

understand who we are, where we come from, and what is our place

in the world. The findings of the present study establish that the icons

collect the traditions, products and beliefs of each sector belonging

to the province of Cotopaxi, fulfilling the objective of analyzing,

selecting and examining the iconography of the audiovisuals, it was

obtained that its focus is given in the Catholic culture and religion, so

that the Panofsky method in its three phases shows that the icons

present are functional reaching to transmit the culture of urban and

rural parishes, that in conjunction with the use of the video mapping

strategy as a dissemination tool to convey a visual message in an

innovative way, allows people to connect with the history and legacy

of their ancestors, promoting respect for generations and

understanding of how experiences have influenced our present.

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