<?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>2518-4431</journal-id>
<journal-title><![CDATA[Investigación & Desarrollo]]></journal-title>
<abbrev-journal-title><![CDATA[Inv. y Des.]]></abbrev-journal-title>
<issn>2518-4431</issn>
<publisher>
<publisher-name><![CDATA[UNIVERSIDAD PRIVADA BOLIVIANA]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2518-44312025000200064</article-id>
<article-id pub-id-type="doi">10.23881/idupbo.025.2-11e</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Bolivian culture. Ch'ixi and abigarrado. Decoloniality through semiotic interpretation]]></article-title>
<article-title xml:lang="es"><![CDATA[Cultura boliviana. Ch'ixi y abigarrado. Decolonialidad a través de la interpretación semiótica]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Lenaz Zenteno]]></surname>
<given-names><![CDATA[Adriano]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Bustos Quitón]]></surname>
<given-names><![CDATA[Laura Elena]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Privada Boliviana (UPB)  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Bolivia</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2025</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2025</year>
</pub-date>
<volume>25</volume>
<numero>2</numero>
<fpage>64</fpage>
<lpage>73</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.bo/scielo.php?script=sci_arttext&amp;pid=S2518-44312025000200064&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.bo/scielo.php?script=sci_abstract&amp;pid=S2518-44312025000200064&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.bo/scielo.php?script=sci_pdf&amp;pid=S2518-44312025000200064&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: This study applies a qualitative, descriptive, and interpretative approach, using the semiotic method proposed by Umberto Eco [1] and Roland Barthes [2] to unravel the ideological discourses in colonial visual production. Through a decolonial perspective, based on Silvia Rivera Cusicanqui [3], and Walter Mignolo [4]. The research questions colonial power structures inscribed in virreinal pictorial works and their influence on contemporary Bolivian identity construction. The analysis reveals that colonial graphic signs functioned not only as instruments of cultural domination, but also as spaces for resignification and resistance. Furthermore, the study posits the reappropriating of these signs for current graphic design an exercise in cultural reclamation and identity construction. The research contributes to the debate on the decolonization of art and proposes a critical reading that links history, aesthetics, and visual communication in the Bolivian context.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: Este estudio aplica un enfoque cualitativo, descriptivo e interpretativo, utilizando el método semiótico propuesto por Umberto Eco [1] y Roland Barthes [2] para desentrañar los discursos ideológicos en la producción visual colonial. A través de una perspectiva descolonial, basada en Silvia Rivera Cusicanqui [3] y Walter Mignolo [4]. La investigación cuestiona las estructuras de poder coloniales inscritas en las obras pictóricas virreinales y su influencia en la construcción de la identidad boliviana contemporánea. El análisis revela que los signos gráficos coloniales funcionaban no solo como instrumentos de dominación cultural, sino también como espacios de resignificación y resistencia. Además, el estudio postula la reapropiación de estos signos para el diseño gráfico actual como un ejercicio de recuperación cultural y construcción de identidad. La investigación contribuye al debate sobre la descolonización del arte y propone una lectura crítica que vincula la historia, la estética y la comunicación visual en el contexto boliviano.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[Graphic design]]></kwd>
<kwd lng="en"><![CDATA[Semiology]]></kwd>
<kwd lng="en"><![CDATA[Culture]]></kwd>
<kwd lng="en"><![CDATA[Decoloniality]]></kwd>
<kwd lng="es"><![CDATA[Diseño gráfico]]></kwd>
<kwd lng="es"><![CDATA[Semiología]]></kwd>
<kwd lng="es"><![CDATA[Cultura]]></kwd>
<kwd lng="es"><![CDATA[Decolonialidad]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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