This paper explores the conceptualization and evolution of virtual exhibitions and immersive art experiences, highlighting their distinctions and similarities. Virtual exhibitions, conducted online or through digital media, offer a platform for showcasing artworks to a global audience without physical constraints. They employ multimedia elements to engage viewers and provide flexibility in exploration. Conversely, immersive art experiences create environments that envelop the viewer, stimulating multiple senses and often incorporating advanced technologies, such as virtual reality and augmented reality. These experiences aim to evoke emotional responses and facilitate active engagement with the artwork. While proponents argue that virtual exhibitions and immersive art experiences democratize access to art and offer new avenues for artistic expression, critics have raised concerns about their impact on authenticity, viewer engagement, and art commercialization. Philosophical and cultural perspectives, including phenomenology and postmodern theory, shed light on the complexities of these art forms and their relationship with reality and simulation. This paper, further, examines the social and business implications of virtual exhibitions and immersive art experiences, noting their growing popularity and influence on the art market. It discusses the viewpoints of artists, critics, and scholars, both supportive and critical, regarding technology’s role in art and its effects on the viewer’s experience. Virtual exhibitions and immersive art experiences represent an evolving landscape in the art world, offering opportunities for innovation and debate. Their impact on the perception and consumption of art remains a subject of ongoing discussion. The paper concludes with a review of successful virtual exhibitions, highlighting their role in expanding access to art and cultural experiences globally.

CrossFit^® Training is a physical and sports-conditioning system based on constantly varied functional movements performed at high intensity. CrossFit^® has been shown to significantly improve general physical performance and body composition. Although there seems to be an association between the practice of CrossFit^® and musculoskeletal injuries, the relationship between CrossFit^® and injury risks has been poorly studied. The main objective of this study was to establish the relationship between CrossFit^® and musculoskeletal injuries. Secondary objectives were the analysis of various risk factors and injury and the comparison of the incidence of CrossFit^® injuries to that of other sports. An online questionnaire was distributed to gyms affiliated with CrossFit^®, Inc. in the Principality of Asturias, Spain in order to carry out a retrospective transversal descriptive study. The frequency of injuries in CrossFit^® is similar to most sports. Injuries are often minor and of short duration, with the shoulder being the most affected joint complex.

La obra de Guillaume Benjamín Amand Duchenne (1806-1871) ha sido ampliamente recogida y analizada. La mayoría de sus biógrafos destacan a un extraordinario científico y clínico, que revolucionó el campo de la neurología y la electroterapia. Sin embargo, se considera que no ha sido suficientemente destacada su mayor aportación: ser el nexo entre dos campos que habían sido independientes hasta ese momento, la electrofisiología y la fotografía artística. La culminación de esta simbiosis sería la publicación de Mécanisme De La Physionomie Humaine: Où, Analyse Électro-Physiologique De L’expression Des Passions, publicada en 1862. Para los autores del presente trabajo, el objetivo final de la obra de Duchenne no fue solo el de un científico y clínico, fue también el de un artista, empeñado en reflejar y desentrañar los mecanismos de la emoción y del sentimiento. Incluso, pretendió establecer un canon estético en la pintura y escultura en la expresión facial, que reflejase su ideal de belleza. Su obra, tuvo importantes repercusiones en la neurología y la electroterapia, en la fotografía médica y en el desarrollo de un nuevo espacio escénico: la representación del movimiento corporal provocado por corrientes eléctricas, el denominado Electric Performance Art.